Culture
Alexi Lalas and Stu Holden – bold, opinionated but never just 'fine'
“I’ve worked with Alexi for 10 years,” says Stu Holden, Fox Sports analyst and former United States men’s national team midfielder. “He’s one of the first people that I am asked about. They say: ‘What’s that guy like off-camera?’.”
It is a thought many may share while watching Alexi Lalas, the formerly goatee-bearded U.S. central defender who rose to prominence at the 1994 World Cup, now best known for his tinderbox contributions on American soccer television.
He comes with a significant soccer pedigree, recording almost a century of caps for his country and playing in Italy’s Serie A and Major League Soccer. A signpost of his influencer status came in 2021 when the world governing body, FIFA, undertook a feasibility study as part of a failed attempt to introduce a biennial World Cup. Lalas was invited along to a seminar hosted by former Arsenal manager Arsene Wenger as part of a cohort that included Brazilians Ronaldo and Roberto Carlos, former Denmark and Manchester United goalkeeper Peter Schmeichel and Australia’s Tim Cahill.
On U.S. television, Lalas, 54, a studio analyst for Fox during the European Championship and Copa America this summer, is bold and direct in his opinions. This week, he has already compared the England national team to the Dallas Cowboys, saying the English are as “insufferable as they are talented”.
And over 40 minutes in a Manhattan coffee shop, he is no different. Topics cut across the future of Gregg Berhalter as coach of the U.S. men’s national team (“We’re letting the players off the hook”, he insists), or his “video game” approach to social media. This is a dose of pure, undiluted Lalas. Sitting beside him, ordering a piccolo coffee (“Don’t encourage him,” Lalas says, when I ask what a piccolo involves), is the more reserved Holden, 38, who also packs a punch in his analysis.
I tell Lalas that some people took a deep breath when I mentioned I was due to interview him. He smiles. First and foremost, Lalas says he sees his studio role as “hopefully having an interesting and informative take, and doing it in an entertaining way”.
He stirs. “But I’m in the entertainment business. I am a performer. When you say that, sometimes people cringe. By no means am I saying that I can’t be authentic and genuine. But I recognise the way I say something is as important as what I say.
“When I go on TV, I put on a costume and when that red light goes on, I don’t want people changing the channel. I don’t care if you like me or you don’t. I am as human as I possibly can be with the recognition that, on television, things have to be bigger and bolder.”
Holden interjects: “He’s one of my good friends. People ask me: ‘Does he believe everything he says?’. And I say, ‘We have the same conversations at the bar that we have on air’.
“I’ve learned from Alexi that you have to be interesting in this business to have longevity. Whether that’s the role that he plays, still authentic to who he is and the opinions he carries — but maybe a little bit of juice on there to fire it up — you never want to be in between. You never want to be in the middle of it, where people are just like, ‘Ah, that guy’s fine’. So be on one side, be bold, don’t care about opinions, but be authentic to who you are. And that’s who he is — on and off camera.”
Holden made 25 appearances for the USMNT but a career that included Premier League spells at Sunderland and Bolton Wanderers was cruelly cut short by injury. He and Lalas apply diligence to their output, often meeting with coaches, players or front-office staff the day before the match to explain to viewers what the team is seeking to achieve.
Lalas on the US team at 1994 home World Cup (Photo: Michael Kunkel/Bongarts/Getty Images)
As time passes, they are more distant from a modern locker room but Holden says it’s important “to take people inside the tent”.
“It’s not as common in England,” he adds, “but it is ingrained in American sports television where they will go to NFL practice, sit with the coaches, get exclusive breakdowns of play. Europeans have a hard time understanding this when they come here. Patrick Vieira (when he was manager of New York City FC) didn’t want to meet with us. Frank de Boer (at Atlanta United), too. Often the European or South American coaches are like, ‘Why are you guys in here?’.”
They believe that being that little bit detached, in terms of age, allows them to come down harder, when appropriate, on those they analyse. I suggest that many within the sports industry police themselves carefully when on television or radio these days, cautious about a public backlash.
“Life’s too short and f*** them,” Lalas says, bluntly.
“Ultimately, I’m talking about soccer. I know we get incredibly passionate and emotional about these things — something I love about sports. I try to be honest and sometimes it comes off in different ways and people perceive it differently. It’s one thing over a keyboard but it’s a very different type of interaction in normal life. There are people that come up to me who disagree with me but we have a cordial, civil and respectful conversation, even if we vehemently disagree about things on and off the soccer field.”

His on-screen character, he says, takes inspiration beyond sports broadcasting. “It is an element of a shock jock, an element of political commentary, an element of late-night television host. And then when it came to actual sports, I grew up in the ESPN age where the hot take was happening, but then I also like Gary Lineker (the former England international striker and long-time presenter of the BBC’s football coverage in the UK).
“The way he talks about things, you almost forget that he was a player — and not just a player, but a f***ing great player. When I hear him talk about the game and life, even if I agree or disagree with the way he does it, it makes me forget that he was once this great player because it’s interesting, informative and entertaining in the way he does it. And so I have a lot of respect for what he’s carved out.”
Lineker and Lalas share another thing in common, in that both men appear to be in a love-hate relationship with social media. Lineker’s show Match of the Day, the BBC’s Premier League highlights programme, was plunged into crisis last year after the corporation took a dim view of his political commentary on Twitter, now known as X.
If Lineker is on the centre-left, Lalas appears to be a political antidote, recently announcing on Twitter that he will be attending the Republican National Convention in Milwaukee. Like Lineker, he seems unable to resist being sucked into the vortex of culture war politics. He shared posts recently that appear sympathetic to Donald Trump and is in regular playful combat with his social media detractors. Yet he has already said that he places so much more value on in-person interactions. So why bother with X?
“I’m sure there’s an element of addiction that I will cop to,” he acknowledges. “It’s just the world in which we live. There is an element of ego. But I’m also under no delusions that I’m not solving the world’s problems. Nobody gives a s*** what the hell I have to say about most of this stuff. First off, Twitter is an information machine.”
But it can also be a misinformation machine.
“At times,” he laughs. “It depends on who you ask or where you look. I look at it almost as a video game that I play.
“There’s an element of poking the bear and being provocative that I enjoy. When it comes to things off the field, like politics, there is a cathartic release to being honest, especially in this day and age. There was a time we were all so bold. And now we live at times, unfortunately, in fear of the real backlash that can come from just saying something people disagree with. Whether it’s politics or sports, I don’t want to live in a world like that. Maybe this is just the way I retaliate.
“I’m not saying that it’s smart or prudent, especially if it can be alienating to people. When it comes to separating the sports and the personal, sometimes they blur and sometimes they infect or affect the other side. But I will only live once and I’d rather just be as honest as I possibly can, regardless of whether anybody listens or cares.”
During this summer’s Copa America, with the USMNT looking for signs of substantial progress under Berhalter, Lalas will be as direct as ever. Holden, too, makes clear the expectations.
How to follow Euro 2024 and Copa America on The Athletic…
“Passing the group stage is not negotiable,” Holden insists. “If we don’t get out of a group containing Panama and Bolivia, then what are we doing? That becomes the time to make a change.”
Lalas cuts in: “Is it untenable? Maybe from the outside and how we look at it. But ultimately it’s (U.S. Soccer’s technical director) Matt Crocker who will make that decision. And he had the opportunity (Berhalter was reappointed as USMNT coach in June 2023).
“Nobody would have begrudged cleaning house and getting rid of everybody. And yet he (Crocker) didn’t. So something really bad has to happen for U.S. Soccer to make a change.
“But there are a lot of people sitting with their arms folded saying, ‘All right, Gregg, you got a long leash, you got a second opportunity, we need to see something different, we need to see something that makes us believe that come the World Cup 2026, there’s the possibility for the first time ever, that a U.S. men’s national team could win a World Cup.’ And we haven’t had those moments. He needs a statement type of game and statement type of summer to mollify some of that.”
Holden points out the USMNT, who exited the last World Cup in the round of 16 against the Netherlands, had the second-youngest team in Qatar and cites the draw against England, where he says the USMNT went “toe-to-toe”, as evidence of what might be possible.
Lalas says: “We’re letting the players off the hook a bit when we constantly talk about the coach. They have been given every benefit, every resource. Nothing has been spared from an early age. It is fair for us to expect more out of them individually and collectively. They’re no longer teenagers. Some of them play for the best teams and in the best leagues in the world. It’s time to put up or shut up.
“We put a lot of emphasis on coaching — and I’m not saying they can’t have an effect — but this is a players’ game. When that whistle blows, you get to decide what happens and the onus is on you. And if you want it, that’s great. If you don’t, then don’t blame the coach.”
Holden grins: “If the U.S. wins the Copa America, it’s the greatest thing they’ve ever done as a soccer nation on the men’s side — hands down.”
(Top image: Amy Sussman/Getty Images)
Culture
Poetry Challenge Day 2: Love, How It Works and What It Means
Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).
This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Ada Limón, poet
Nonetheless, the poem soon makes clear that love is very much on its mind.
How should we like it were stars to burn
With a passion for us we could not return?
David Sedaris, writer
The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.
If equal affection cannot be,
Let the more loving one be me.
Reginald Dwayne Betts, poet
Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
Auden’s poem, like Marlowe’s, is written in four-beat lines:
How should we like it were stars to burn
With a passion for us we could not return?
Josh Radnor, actor
And it features strong end rhymes:
If equal affection cannot be,
Let the more loving one be me.
Samantha Harvey, writer
These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:
I do not like thee, Doctor Fell
The reason why I cannot tell.
But this I know and know full well
I do not like thee, Doctor Fell.
There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.
This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.
But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.
What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.
This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:
As lines, so loves oblique may well
Themselves in every angle greet;
But ours so truly parallel,
Though infinite, can never meet.
The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”
The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:
How should we like it were stars to burn
With a passion for us we could not return?
Mary Roach, writer
The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:
If equal affection cannot be,
Let the more loving one be me.
Tim Egan, writer
Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
How should we like it were stars to burn
With a passion for us we could not return?
Tap a word above to fill in the highlighted blank.
Your task today: Learn the second stanza!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
Culture
What America’s Main Characters Tell Us
Literature
Oedipa Maas from ‘The Crying of Lot 49’ (1966) by Thomas Pynchon
“The unforgettable, cartoonish protagonist of this unusually short novel is a California housewife accidentally turned private investigator and literary interpreter, and the mystery she’s attempting to solve — or, more specifically, the conspiracy she stumbles upon — is nothing less than capitalism itself,” says Ngai, 54. “As Oedipa traces connections between various crackpots, the novel highlights the peculiarly asocial sociality of postwar U.S. society, which gets figured as a network of alienations.”
Sula Peace from ‘Sula’ (1973) by Toni Morrison
“Sula arguably begins to disappear as soon as she’s introduced — despite the fact that the novel bears her name. Other characters die quickly, or are noticeably flat. This raises the politically charged question of who gets to ‘develop’ or be a protagonist in American novels and who doesn’t. The novel’s unusual character system is part of its meditation on anti-Black racism and historical violence.”
The speaker of ‘Lunch Poems’ (1964) by Frank O’Hara
“Lyric poems are fundamentally different from narrative fiction in part because they have speakers as opposed to narrators. Perhaps it’s a stretch to nominate the speaker of ‘Lunch Poems’ as a main character, but this book changed things by highlighting the centrality of queer counterpublics to U.S. culture as a whole, and by exploring the joys and risks of everyday intimacy with strangers therein.”
This interview has been edited and condensed.
More in Literature
See the rest of the issue
Culture
Poetry Challenge: Memorize “The More Loving One” by W.H. Auden
Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.
Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)
This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.
Here’s the first of its four stanzas, read for us by Matthew McConaughey:
The More Loving One
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Matthew McConaughey, actor and poet
In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.
Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.
Tracy K. Smith, poet
These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.
This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.
The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.
But the third stanza takes it all back. Here’s Alison Bechdel reading it:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Alison Bechdel, graphic novelist
The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.
The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
Yiyun Li, author
Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.
Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.
The last line puts a brave face on heartbreak.
So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.
When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.
Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.
This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.
So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Looking up at the stars, I know quite well That, for all they care, I can go to hell,
Tap a word above to fill in the highlighted blank.
Your first task: Learn the first four lines!
Let’s start with the first couplet. Fill in the rhyming words.
Monday
Love, the cosmos and everything in between, all in 16 lines.
Tuesday (Available tomorrow)
What’s love got to do with it?
Wednesday (Available April 22)
How to write about love? Be a little heartsick (and the best poet of your time).
Thursday (Available April 23)
Are we alone in the universe? Does it matter?
Friday (Available April 24)
You did it! You’re a star.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
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