Nine for IX

We know about the swing. We know about the swagger. But what most Americans don't know about Venus Williams is how she changed the course of her sport. In a stunning case that captured the European public beginning in 2005, Williams challenged the long-held practice of paying women tennis players less than their male counterparts at Wimbledon. With a deep sense of obligation to the legacy of Billie Jean King, Williams lobbied British Parliament, UNESCO and Fleet Street for financial parity. And it was her poignant op-ed piece in The London Times that convinced many people that the Wimbledon tournament organizers were "on the wrong side of history." Roland Garros and Wimbledon finally relented in 2007. That year at Wimbledon, Venus became the first women's champion to earn as much as the men's singles winner (Roger Federer). "Venus VS." chronicles Williams' fight for pay equality.

On April 18, 2012, Pat Summitt, the winningest coach in the history of the NCAA basketball, did the unimaginable and announced her resignation from the University of Tennessee. On the very same day, her son, Tyler, was hired as an assistant for the Marquette women's basketball team, his first job out of college. While the sports world reeled from the news of Pat's early-onset dementia, the coach and her son quietly set out to beat this challenge just as they had every other -- with grace, humor and most of all, each other. "Pat XO" tells the remarkable story of Pat Summitt as it has never been told before. This raw, authentic portrait takes the camera from the filmmaker's hands and places it with those who know her best. With Tyler as the lead storyteller, we hear never-before-told recollections from assistant coaches; players like Chamique Holdsclaw, Tamika Catchings and Michelle Marciniak; and such admirers as Peyton Manning and Kenny Chesney. The archival footage and statistical records woven into the film provide their own insights into a woman who cared about winning, but also about elevating her players and her university. If it's possible to do justice to Pat Summitt, "Pat XO" does it.

Lisa Olson was just trying to do her job as a reporter for the Boston Herald in 1990 when a group of New England Patriot players sexually harassed her in their locker room by exposing their genitals and making lewd and vulgar comments. Even though a subsequent NFL investigation concluded that Olson had been "degraded and humiliated," the 25-year-old continued to be tormented by Patriot fans -- so much so that she temporarily moved to Australia to resume her career. AP Photo/Steven Senne Lisa Olson's legal case was one that helped pave the way for women to report without harassment in locker rooms. The incident touched off a national debate about the presence of female journalists in the male sanctum of the clubhouse. That debate should have been settled 12 years earlier, when Melissa Ludtke of Sports Illustrated successfully challenged Major League Baseball after she was kept out of the New York Yankees' locker room. Why has equal access for women reporters remained such a hot-button issue? That question is asked in "Let Them Wear Towels," a history and examination of females working in the man's world of the locker room. Through interviews with such pioneer women as Ludtke, Claire Smith, Lesley Visser and Christine Brennan, you'll hear stories of raw behavior and humorous retaliation, angry lawsuits and remarkable resolve.

As a teenager, Audrey Mestre suffered from scoliosis, but in those formative years, she discovered a passion for the ocean. It offered her a sense of freedom, and the burdens she faced on dry land soon dissipated as she slipped below the surface. In the final stages of her Ph.D., Mestre was drawn to Cabo San Lucas, where she became infatuated with free diver Pipin Ferreras, a Cuban defector whose dives had put him at the forefront of the sport. The two became a couple, and Mestre followed the often elusive, often raucous Ferreras on his almost spiritual quest to push his limits underwater. Soon enough, Mestre moved from support team member to ardent free diver and then to a world-class competitor who outshone her husband. In 2002, after news arrived that a rival female diver named Tanya Streeter had successfully gone to a record-breaking 525 feet, Ferreras began preparations for Mestre to make a 561-foot dive off the coast of the Canary Islands. Having completed practice dives even deeper in the weeks leading up to the record attempt, Mestre was prepared. But because of a fateful decision before the dive, Mestre never resurfaced alive.

Sheryl Swoopes has famously been labeled the female Michael Jordan. Actually, she's far more interesting. On the court, she was nearly as dominant as Jordan, winning a national championship with Texas Tech, three Olympic gold medals, three MVP awards and four consecutive championships with the Houston Comets of the WNBA, the league she helped start. She even had a Nike shoe named after her, the Air Swoopes. Off the court, she gave birth to her son, Jordan, in the middle of her first WNBA championship season. Later, she divorced her high school sweetheart and became the highest-profile athlete in her sport to declare she was gay. She has struggled with love, family, money and lack of recognition, but she has never lost her spirit. In this portrait, you will meet someone who is not your everyday superstar, a woman who has defied a multitude of labels, including old-- in August 2011, Swoopes, at 40, hit a buzzer-beater to end the Tulsa Shock's 20-game losing streak.

At the height of the Cold War, Katarina Witt became one of East Germany's most famous athletes. Trained in an ice rink that gave rise to socialist heroes, Witt dominated her field by winning six European skating titles, five world championships and back-to-back Olympic gold medals, becoming arguably the world's best figure skater. Known as "the most beautiful face of socialism," her success gave her a unique status in East Germany. It also triggered constant surveillance by the Stasi, East Germany's notorious secret police force. This film chronicles how Witt fought for her future in socialist East Germany, faced the great changes that occurred after the fall of the Berlin wall and ultimately ended up both a beneficiary and victim of the East German regime.

The expectations for American distance runner Mary Decker were sky high as she lined up to make her Olympic debut in the 3,000 meters at the 1984 Los Angeles Games. After all, Decker had displayed unwavering dominance in every distance from the 800 to 10,000 meters. Her wholesome image graced magazine covers and adorned walls all over the world. And at the age of 25, this was her first Olympics: stress fractures in her leg had kept her out of the 1976 Montreal Olympics and the U.S. boycott prevented her from competing in the 1980 Moscow Olympics. So the 3,000 was to be her coronation, the gold medal that would validate her greatness. As fate would have it, though, there was another compelling figure in the race, a 19-year-old barefooted South African running for Great Britain, Zola Budd. Just past the midway point of the race, Budd crowded Decker on the inside lane, and in the panic and urgency of the moment, they collided. Decker fell to the track with a look of anguish. Budd would regain her stride but finish a distant seventh behind the winner, Romanian Maricica Puica. Decker initially blamed Budd, but in later years they reconciled and tried to get past the collision. Still, the one moment of heartbreak came to define what should have been a glorious career.

The world of women's sports was kicked upside down on July 10, 1999. Before a sold-out crowd of more than 90,000 at the Rose Bowl and an estimated 40 million Americans watching on television, the women's soccer team reached a cultural and athletic pinnacle with its penalty-kick shootout victory against China to win the Women's World Cup. These players were more than the ponytailed poster girls celebrated by mainstream media. As told through the voice of a longtime team captain Julie Foudy, we get an inside look at the strong team ethic and rare "do for each other" mentality that propelled the squad to victory and turned it into a cultural touchstone. With unprecedented access, the film uses candid, behind-the-scenes footage shot by the players themselves during the tournament to present a unique portrait of the women who irrevocably changed the face of women's athletics. Reuniting key players from the 1999 squad and talking with current U.S. players, the film will examine how women's soccer -- and women's sports as a whole -- has changed since that epic day.

Sports is supposed to be the ultimate level playing field, but in the media and on Madison Avenue, sometimes looks matter more than accomplishments. This film explores the double standard placed on female athletes to be the best players on the field and the sexiest off of it. Through stories of the women who have faced and tackled this question in very different ways, "Branded" explores the question: can women's sports ever gain an equal footing with their male counterparts or will sex appeal always override achievement?