Why the Pittsburgh Pirates might be good in 2012:

1. The team’s nucleus is young and talented, and Andrew McCutchen, Neil Walker and James McDonald seem capable of building on successful 2011 campaigns. McCutchen could be an MVP candidate if everything breaks right; Walker solidifies the lineup with his everyday presence and work ethic and has the tools to continue to improve; and McDonald flashed top starter potential in May, June and July before wearing down at season’s end.

2. Key players who struggled in 2011 have a pedigree that suggests improvement should be assumed. Pedro Alvarez can’t be worse than he was in his sophomore season, and even a league average performance would plug a gaping hole at the hot corner. If he has any pop in his bat and can stay in the lineup all summer, then pressure to overachieve is taken off his teammates. A healthy Jose Tabata figures to hit for better average and more gap power and steal a few bases. Playing in 91 games at age 22 is an accomplishment, but to justify all the chatter related to his idol, Clemente, Tabata needs to finally meet his potential.

3. Neal Huntington’s signings of Rod Barajas, Clint Barmes, Nate McLouth and Erik Bedard address definite needs. Competent players are inserted into key roster spots on short-term deals: there’s a strong possibility that the reinforcements play well, and even if they don’t, the commitments are relatively minor and the team can move on to other options if necessary. Think of how an acquisition of Derrek Lee at the trade deadline made up for Huntington clanking on the Lyle Overbay signing last offseason. The Pirates are hoping their free agent quartet contributes fair value, but aren’t necessarily relying on all-star production. Still, it’s nearly certain Huntington’s portfolio will outperform expectations.

… or not:

1. Jeff Karstens, Kevin Correia, Charlie Morton. No one thought the Pirates’ pitching could carry the team in 2011, but it did, and a regression wouldn’t be shocking—but nonetheless would be devastating. Correia, the fifth starter, was a 2011 all-star. Karstens led the team in ERA after being designated for assignment previously. And Morton went from a two-win pitcher in 2010 to notching 10 wins in 2011 and halving his ERA, all while earning flattering comparison to Roy Halladay. If these three pitch 450 quality innings in 2012, the Pirates might be good. If not, then … not.

2. Mid-market teams like the Pirates will always rely on contributions from bench players, and speculation is that a signing like McLouth’s might lead to Garrett Jones’ being non-tendered. Ross Ohlendorf might also be cut in order to save cash, and not undeservingly. Still, when teams like the Marlins are throwing hundreds of millions of dollars are free agents, the Pirates have no reason to base roster decisions on anything but talent. They can do better than Michael McKenry as a backup catcher, and Jones and McLouth should both make the team. A competent handcuff for Pedro Alvarez (like Ian Stewart) is needed, and a middle infielder more capable than Pedro Ciriaco should be found. The bullpen and back of the rotation should be stocked with quality big leaguers, not non-roster invitees.

3. The competition might be too strong. Everything broke right last year, as the Central played down to the Pirates’ level. If Albert Pujols and Prince Fielder go elsewhere and the Cardinals and Brewers can’t sign legitimate replacements, then the Pirates’ chances of a Cinderella season improve dramatically. If Pujols is in St. Louis, Adam Wainwright returns, Lance Berkman and Matt Holliday put up big numbers, and so on, then the Pirates just can’t keep up … yet. Remember, even if Huntington puts together a team that’s sexy on paper, it still needs to be able to conquer five divisional opponents.

In December, it’s easy to be optimistic. At this stage of the off-season, the roster seems much more well-rounded as compared to previous years. I’d be willing to bet that 2012 is the year the Pirates finally inch over .500. Will they do enough to make the playoffs? That’s asking a lot.

Pitt already knocked off No. 10 Lehigh on November 12 (and then beat another Keystone school, Drexel, on November 13). Penn slots in at No. 20. Edinboro received votes but didn’t crack the top 25.

I’m hoping that sooner or later, content providers all decide to cut out the middle men. I’d love to be able to manage my TV channels like I do a takeout menu; buy ESPN at $10, a side of CNN for $5 and MTV as a $2 dessert. (Set-top boxes like the Roku make it possible, but that’s another post.)

Face it: that’s what we’re doing anyway (but on a more expensive scale). Instead of getting just what we want, though, we pay a little bit more for a lot of fluff that never gets watched.

We’ll always shell out for killer content, and Netflix has bet big on that. If entertainment options are readily available on an a la carte basis, then consumers and the best producers will be rewarded.

• Coldplay
• Collective Soul
• Cowboy Mouth
• Dexter Freebish
• Fastball
• Lifehouse
• O.A.R.
• Steve Miller Band
• Train

I’ve seen the entire series runs of most recent classics. The Wire, 24, Lost, etc. Netflix helped me fill any gaps I missed. Even with a busier schedule now, I’m up to date on Mad Men, The Walking Dead, Dexter, Californicaton, and so on.

I feel like I have to make that much clear in order for you to take this opinion seriously: The Sing-Off could be the best entertainment that television has to offer right now.

Admittedly, I’m biased. A cappella music still isn’t cool or mainstream, but when it first hit my radar, it was hidden in dark closets on the Internet. (That’s probably an oversimplification. The good stuff is always on YouTube, and it’s easy to lose hours online clicking from video to video. Two of the benefits of working for a web-based company are colleagues sending lots of links to creative projects and a seemingly endless amount of time to sift through it all.)

So, I was on the bandwagon before Glee came to be, and before a cappella became Ben Folds’ pet project. But Folds’ University A Cappella album seemed to legitimize the genre, and The Sing-Off became a worthy extension of YouTube goodness.

It’s a no-frills show. Groups sing. No instruments. Basic wardrobes, basic effects, basic dance routines. All heart, inspiration and voice. Lots and lots of voice.

For that reason, it’s an ideal way to veg out for two hours every Monday. There’s no plot to follow, no rules to learn or complicated voting contests. It’s survival of the fittest with a bunch of young people who take hit singles and transform them into brand new chart-toppers.

Three seasons into Sing-Off and hours of YouTube clips under my belt and you’d think the wow factor would be missing for me. On the Halloween episode, though, the Dartmouth Aires captivated me with their versions of Queen songs.

Before Monday night I didn’t think the Aires had a chance to win this season, but one performance helped them to skyrocket up the standings.