Culture
A history of spying in football: Drones, interns at training and kit men in ceilings
Are not even the Olympic Games sacrosanct?
Yeah, you’re right. Probably not, given their long history of judging corruption, state boycotts and widespread doping.
But the news which broke on Tuesday, three days before the opening ceremony and hours before the first action in the 2024 Games’ football tournament, meant that the cherished Olympic values of fair play stood in tatters even before organisers emblazoned that message across the Parisien sky and the River Seine.
That it was Canada who performed such an egregious breach of the rules — by all stereotypes a country known for its people being polite, respectful, laidback and just terribly nice — only adds to the ironic drama.
There are five rings in the Olympic logo — take just two of them intertwined, and they resemble a pair of binoculars.
So this is what happened…
On Tuesday, at a training session ahead of their opening match of the group stage in Saint-Etienne on Thursday, staff members from the New Zealand women’s football team noticed a drone hovering above them.
Bev Priestman, the Canada coach, watching her team in action earlier this year (Jason Mowry/Getty Images)
They called the on-site police, who detained the device’s operator, who was later revealed to be a staff member from the Canadian team, the reigning Olympic women’s champions, and their opponents in that opener today.
In an initial statement, the Canadian Olympic Committee (COC) apologised — but more was to come.
The following day, it became clear that there had been two drone incidents, with the other taking place five days earlier, on July 19. Now facing severe sanctions, the COC needed to act.
Joseph Lombardi, an “unaccredited analyst”, and Jasmine Mander, a member of the coaching staff who oversees Lombardi, have been removed from the team and sent home and Canada’s English head coach Beverly Priestman has voluntarily stepped down from being on the touchline for the New Zealand game.
“On behalf of our entire team, I first and foremost want to apologize to the players and staff at New Zealand Football and to the players on Team Canada,” Priestman said. “This does not represent the values that our team stand for.”
That final sentence is a little difficult to justify, given that spying on another team’s training is hardly an accidental action — nobody finds themselves flying a $2,000 piece of tech over their next opponents — twice — by mistake. Rather, it comes as a product of culture and command.
“I am ultimately responsible for conduct in our program,” Priestman added. “Accordingly, to emphasize our team’s commitment to integrity, I have decided to voluntarily withdraw from coaching the match on Thursday. In the spirit of accountability, I do this with the interests of both teams in mind and to ensure everyone feels that the sportsmanship of this game is upheld.”
This may be new to the Olympics — but spying in football is old business.
Teams sending scouts to watch the next side they are going to play at training probably predates the invention of the offside rule. In fairness, though, we do not know if ancient Olympian Theagenes of Thasos sent emissaries to watch Arrichion of Phigalia working on his moves.
Didier Deschamps, the France head coach, spotted a drone over training at the 2014 World Cup (Martin Rose/Getty Images)
In international football, France men’s manager Didier Deschamps noticed a drone above his players as they trained at the 2014 World Cup in Brazil — it was never discovered which, if any, of their group-stage rivals Ecuador, Honduras and Switzerland it belonged to.
Go back two more decades and ahead of a vital away World Cup qualifier against Norway in 1993, England manager Graham Taylor was so convinced his team were being watched that he moved their training base to a military facility. The issue? That new location was near the house of the chief sportswriter of one of Norway’s leading newspapers, who subsequently published their tactics the next morning. England lost, 2-0, in Oslo, ended up missing out on the 1994 World Cup, and Taylor got sacked.
Similarly, in a case of paranoia outweighing perspective, the Chilean football federation once sent up their own device to destroy a drone hovering over their session before a match against Argentina. It was perhaps football’s first case of aerial warfare since Roy Keane’s infamous tackle on Alfie Haaland. In this case, it turned out the questionable drone was a surveying tool being used by a Chilean telecommunications company.
But there is one example of spying which did emanate from South America — when, in early 2019, Leeds United’s Argentine head coach Marcelo Bielsa admitted sending an intern to watch the following weekend’s opponents Derby County work on their formation, set pieces and so on. It was not the first time.
“We watched training sessions of all the opponents before we played them,” Bielsa, now Uruguay’s head coach said. In Argentina, this practice was common apparently, and one he had continued after coming to work in Europe.
Officers have just attended the Training Ground for @dcfcofficial After a suspicious male was seen at the perimeter fence. Excellent searching conducted & male was located. All checks above board!
Keeping the team safe to bring home a win against #LUFC on 11th! #SpyingIsCheating pic.twitter.com/a12Zj8gISX— Derby Response – This account is closing (@DerbyResponse) January 10, 2019
Derby and Frank Lampard, their manager at the time, were furious. When Bielsa rang the former Chelsea and England midfielder to explain himself, there was no apology — but instead, in broken English, he attempted to remove any ambiguity around the circumstances.
Leeds won the ensuing match, 2-0 — and the following week, Bielsa held an unprecedented press conference for local journalists, 66 minutes long, in which he used a PowerPoint presentation to demonstrate the full extent of the analysis he carried out on opposition clubs.
For Bielsa, who held open training sessions throughout his time at Athletic Bilbao in Spain, watching teams going through their tactical preparations like this was not spying, but simply gathering information.
Leeds’ Bielsa, centre, admitted spying on Lampard, right, and Derby (Alex Dodd – CameraSport via Getty Images)
It was later pointed out by Leeds fans that, as a player, Lampard has been part of a Chelsea side which profited from similar, um, info-gathering missions.
In an interview with UK newspaper the Telegraph, former Chelsea manager Andre Villas-Boas admitted that, in his time as an assistant at the London club under Jose Mourinho, he would “travel to training grounds, often incognito, and look at our opponents’ mental and physical state before drawing my conclusions”. Chelsea won the Premier League title twice with Mourinho and Villas-Boas in situ.
Given the amount of information that rival clubs can draw on, some coaches are simply not too bothered by allegations of spying. In 2018, German Bundesliga side Werder Bremen used a drone to spy on Hoffenheim — but Hoffenheim’s coach Julian Nagelsmann, now manager of Germany’s national team, brushed off its impact.
“I’m not really angry at the analyst doing his job,” Nagelsmann said, before adding it was “commendable” that Bremen were going to such lengths to try to win.
Similarly, in the aftermath of the Leeds incident, former striker Gary Taylor-Fletcher recalled an incident from his Lincoln City side’s 2003-04 League Two play-off semi-final second leg away to Huddersfield Town.
While the Lincoln players were receiving their half-time team talk, Taylor-Fletcher tweeted, a polystyrene ceiling tile broke and then fell down — revealing the sizable heft of longtime Huddersfield kit man Andy Brook listening from the cavity above. Lincoln went on to lose the tie, while their opponents lost their dignity — but did end up getting promoted. And Taylor-Fletcher can’t have been too annoyed because, a year later, he left Lincoln for… Huddersfield.
Football is not alone in this sort of espionage — and other sports can be much more high-tech.
The McLaren Formula 1 team were given the largest fine in sporting history — $100million — and thrown out of the sport’s 2007 Constructors’ Championship after senior engineer Mike Coughlan received technical design documents which had been leaked from rivals Ferrari.
There have also been several high-profile incidents in American football.
Also in 2007, the New England Patriots, the most successful NFL team of recent years with six Super Bowl wins since the turn of the century, were punished for recording the defensive signals given to players during a game by coaches of the New York Jets. New England’s legendary head coach Bill Belichick was fined $500,000 — the maximum allowed by the league, and the most in NFL history — while the team were denied their first-round pick in the following year’s player draft.
Belichick in 2007, when his team were caught recording the New York Jets’ defensive signals (AP Photo/Mel Evans, File)
Does cheating prosper? Well, New England won all 16 games in the 2007 regular season — but were surprisingly beaten in the Super Bowl by the New York Giants.
And it’s not just the professionals in the gridiron game. Last October, the University of Michigan’s head coach Jim Harbaugh was suspended over a similar sign-stealing scandal which quickly escalated to involve allegations also levelled at several other college teams. Harbaugh was banned for several games, but Michigan went on to win the U.S. college national championship on his return. Harbaugh has since moved on to become head coach of the NFL’s Los Angeles Chargers.
So this is the bottom line: teams cheat.
In a multimillion (or even billion) dollar/pound/euro industry, marginal gains like those detailed here are worth the risk of detection. For every Canada, Leeds and Michigan caught, there are clubs and sides whose operatives get away with it.
Widespread but not necessarily endemic, it is both serious and not serious, funny and infuriating, the natural by-product of a game being taken as lifeblood.
Back in the ancient Olympics, contemporary accounts reveal athletes being bribed to say they were from certain city-states rather than others — facing a potential punishment of public flogging if they were caught.
Things have not really changed — and the punishment, at least to the guilty party’s public reputation, is not so different either.
Teams are willing to run that risk.
(Top photos: Getty Images; design: Eamonn Dalton)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
Culture
Do You Know the Comics That Inspired These TV Adventures?
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.
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