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MISSOULA — Another year, another Montana quarterback leaving the football team via the NCAA transfer portal. Logan Fife announced his intention to enter the transfer portal on Sunday, one day after the Grizzlies ended their season in the second round of the FCS playoffs with a 9-5 record. The portal officially opens on Monday, Dec. 9. Fife made eight starts and played in 13 games in his lone season at Montana after transferring from FBS Fresno State. He played a complete game just two times as he and Keali'i Ah Yat rotated for most of the year. He was the Big Sky Conference offensive player of week following his first start. He threw for 364 yards and five touchdowns in a 52-49 win over Eastern Washington on the road to begin league action. Fife, a fifth-year junior, completed 63.5% of his pass attempts (167 of 263) for 1,890 yards, 14 touchdowns and two interceptions. He carried the ball 57 times for 135 yards and five touchdowns. "First and foremost I'd like to thank God for the many blessing in my life and allowing me to continue to live out my dream," he wrote in a social media post on X. "I'd like to thank my family and friends for the endless support through this journey. I'd also like to thank my teammates and the city of Missoula for welcoming me with open arms in this past year. "With that being said, it is in my best interest to enter the transfer portal as a grad transfer with 1 year of eligibility remaining. I am extremely excited for what the future has in store." Fife saw his reps increase when Ah Yat got injured, first happening in the fourth game of the year against Western Carolina. He played the next three weeks while Ah Yat got only one series in that span. They split time after the bye week when Ah Yat returned, including in a loss to UC Davis. Ah Yat got his first start since WCU the next week against Portland State, but an injury led to Fife rallying the Griz to a win in the second half. That game included Fife and head coach Bobby Hauck getting into multiple heated exchanges on the sideline before they hugged it out. Fife played the whole game the next week in the regular-season finale against Montana State, a 34-11 loss. He started in the first round of the FCS playoffs against Tennessee State and wasn't pulled until he fumbled twice in the second half. He did not play in the second-round loss at South Dakota State. Following the 2023 season, Clifton McDowell transferred and ended up at McNeese State after leading the Griz to the national championship game. Sam Vidlak, who lost the in-season QB battle, also transferred and became a second-team All-Southland honoree at Stephen F. Austin in 2024. "Somebody will get a really good player and a great dude," Vidlak wrote on X in sharing Fife's post. "Hope you find the fit you deserve. Best of luck Logan." After the 2022 season, Daniel Britt entered the transfer portal. He had said, "I just felt I wasn't developing enough as a player in the QB room." Fife is the first-known Griz player to enter the transfer portal this offseason. Frank Gogola is the Senior Sports Reporter at the Missoulian and 406 MT Sports. Follow him on X @FrankGogola or email him at frank.gogola@406mtsports.com . Be the first to know Get local news delivered to your inbox! Sports Reporter {{description}} Email notifications are only sent once a day, and only if there are new matching items.( / ) (ITV1) | ( ) (BBC One) | If there’s one thing the world doesn’t need right now it’s another addition to the oversaturated fantasy genre, but maybe Sky Atlantic’s new six-parter offers something a little different? That’s not to claim that I was bouncing on the sofa with anticipation. Developed by Diane Ademu-John and Alison Schapker, the show is a prequel to (a remake of David Lynch’s 1984 original), which I found rather dull: two-and-a half-hours of sand, CGI and boyband brooding from Timothée Chalamet’s Paul Atreides. The new series is set 10,000 years before Atreides shows up on Arrakis, and as per with such ventures, the premise is laboriously set out at the beginning, as if we’ve all failed our fantasy studies GCSE and must now suffer on a sci-fi cramming course. A prologue tells us how thinking machines have been vanquished, technology banned. From there, we meet a sisterhood of Truthsayers – women in billowing black robes who root out liars and whisper advice into powerful ears, like alt-reality spads. The sisters are trained and led by morally dubious Valya (Emily Watson), who works alongside her sister Tula (Olivia Williams), and together... Hey, hang on... At what point was permission granted for two older female actors to lead a TV fantasy franchise? It feels like a minor feminist miracle. Valya and Tula are in control of baby breeding for better leaders (think a non-evil, female-friendly Gilead), but a bearded stranger, Desmond Hart (Travis Femmel), has shown up, able to burn people alive with mind power, and the weak emperor (a dazed-seeming Mark Strong) is in his thrall. ‘It’ll be nice for Coleen to do a trial that doesn’t involve Rebekah Vardy,’ quipped Dec Elsewhere, there’s routine fantasy silliness: for instance (spoiler alert), it is breathlessly revealed that Hart acquired his powers by being ingested by a giant sandworm. Still, feels a lot more thoughtful and inventive than most fantasy fare, and with women placed at the centre. Looking ahead, Valya and Tula can still be found quietly but grittily scheming and plotting, alone and together, like a sandier . It’s worth a look. Over to the Australian jungle for the opener of the new series of (ITV1), presented by Ant and Dec. This time, thankfully, with no ( tone) “divisive political figures”. No former health secretary Matt Hancock trying to nice-bloke away breaking his own lockdown rules. No Nigel Farage, populist man of the sheeple, gloating about his giant fee, hilariously unaware he’s tanked 2023’s launch viewing figures by 2 million. Instead, it’s back to the classic ragbag of celebs, including record £1.5m signing Coleen Rooney, wife of former England footballer Wayne (“It’ll be nice for Coleen to do a trial that doesn’t involve Rebekah Vardy,” quipped Dec), former pro Oti Mabuse and McFly’s Danny Jones. At this early stage everyone is being warm and supportive, which is wonderful and uplifting but needs to stop. There’s not nearly enough starvation-induced diva griping and sniping for my black-hearted tastes. Give them time. Disney+ drama , created by Joshua Zetumer, is nine episodes long and still feels as if it needs more space for the huge task it sets itself. Based on the bestselling 2018 book by Patrick Radden Keefe, it spans decades of the Troubles in Northern Ireland, from the 1970s onwards. Set mainly in Belfast, the story focuses on real-life IRA operatives the Price sisters – Dolours (portrayed over the years by Lola Petticrew, then Maxine Peake) and Marian (Hazel Doupe/Helen Behan) – and Brendan Hughes (Anthony Boyle/Tom Vaughan-Lawlor). It also features Gerry Adams (Josh Finan/Michael Colgan), who was Sinn Féin president from 1983 until 2018, though each episode ends with firm legal disclaimers stating Adams’s consistent denial of involvement with the IRA. Elsewhere, deals with the “disappeared”, including the appalling case of widowed mother of 10 Jean McConville (Judith Roddy), abducted and killed by the IRA for allegedly being an informant to the British army, although it was never proven that she was. In many ways this is an astonishing work, with striking performances all round, and the radicalisation of the Prices is skilfully conveyed. One harrowing episode covers their 1973 bombing of the Old Bailey in London, which injured and maimed more than 200 people, and the sisters’ subsequent imprisonment and hunger strike. Ultimately, though, struggles to control myriad threads: eras are linked by Peake’s older Dolours, and, later, Vaughan-Lawlor’s Hughes giving interviews to Boston College, Massachusetts’ oral history . There’s also a highly problematic rock’n’roll-style excitement to early IRA manoeuvres, though this is addressed as the series progresses, and, for some characters, doubt and conscience seep in. What emerges is a disordered, skewed account, but a powerful one. It’s hard to know where you are with new four-part BBC One drama – and that’s both its biggest fault and its greatest selling point. Adapted from his own left-field novel by Canadian author and playwright , it follows teacher Claire (a vivid performance from Rebecca Hall) as she struggles to cope with an omnipresent rumbling hum only she can hear – to the increasing alarm and exasperation of her husband and daughter (played by Prasanna Puwanarajah and Mia Tharia respectively). Directed by Janicza Bravo ( ), the story has a chilly, stubbornly conceptual feel as Claire keeps gaining and losing your sympathy. Surely a teacher would know it was inappropriate to meet alone with a teenage pupil (a credibly off-kilter Ollie West) who also hears the hum? They join a group of fellow listeners, led by a risibly creepy, blissed-out couple. As Claire’s life unravels, themes jostle: conspiracy theories; alternative facts; cults; condescension to women (Claire’s hum is initially branded a menopausal symptom); quasi-religious fervour and rapture, but also rising dread. There are times when feels akin to a sprawling, uber-woolly episode of . But there’s also the sense that you’re partaking against your will in a televised immersive art installation, and I like that. Here is a drama that aggravates and intrigues in equal measure. (Paramount Plus) The new Taylor Sheridan ( ) drama set in the recent past in west Texas. Demi Moore, Jon Hamm and Billy Bob Thornton star in an ambitious oil business saga about billionaires, law enforcement and drug cartels. (BBC Two) A disturbing documentary about people still campaigning for justice after the devastating effects of the British government’s postwar nuclear test programme in Australia/South Pacific in the 1950s/60s. (BBC Two) Full-on documentary marking the genesis of magazine and the ensuing 90s lads’ mags revolution. Interviewees include Irvine Welsh, Gail Porter and founding editor James Brown.Your Y2K heartthrobs are back, and nobody’s objecting
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