Culture
Calafiori's Arsenal signing awakens a long-dormant Italian connection
San Daniele del Friuli was an atmospheric neighbourhood trattoria in Highbury that was once a regular destination for Arsenal’s players and management. It was located a five-minute stroll from the stadium’s marbled entrance.
On Champions League nights, it stayed open late and diners would clap warmly as manager Arsene Wenger came in for a bite to eat with vice-chairman David Dein. Players Patrick Vieira, Robert Pires, Sol Campbell, Freddie Ljungberg et al often arrived, showered and changed, to unwind with friends after the game. The owners, a pair of brothers who supported Udinese and Arsenal, treated everyone like family.
For a long time, that was about as strong a connection as could be found between Arsenal and Italy.
The signing of Riccardo Calafiori from Bologna in a move worth up to £42million ($54m) feels momentous for those of an Italo-Arsenal persuasion. It is the first time the club have signed an Italian with star quality, a player in that country’s best traditions of ‘calcio’ who has his best years ahead of him.
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Why Arsenal signed Riccardo Calafiori
It is perhaps peculiar that so few Italian players of note have made their way to Arsenal.
Italy might not be an exporter of footballers to match France and more recently Spain, which have been dominant forces across the continent since the major leagues began to cross-fertilise their talent in the 1990s. But it is still quite high in the list of nations other than England represented in the Premier League since its inception.
Non-English nations by number of Premier League players
The Italian community in London has thrived since the 1800s, with the northern boroughs of Islington — the club’s heartland — and neighbouring Camden among the most populous areas for Italians who settled here.
Maybe it had something to do with never having an Italian manager, or maybe it’s just a curious quirk, but Arsenal have rarely gone down that footballing path.
Niccolo Galli was the first Italian to join Arsenal. A talented defender, he moved to Arsenal’s academy in 1999 and was part of the group that won the FA Youth Cup a year later. He was extremely highly regarded but, at a time when it was still relatively novel to move abroad as a teenager, returned to Italy for a loan period to continue his studies and football development. Tragically, he was killed in a moped accident on his way home from training aged 17.
Galli was Arsenal’s first Italian player (John Walton/EMPICS via Getty Images)
Arturo Lupoli arrived in 2004 and fitted the mould for ‘project youth’ — a period when Arsenal intentionally headhunted young players with high potential to help the club cope with cost-saving measures as they paid for the building of the Emirates stadium.
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Cesc Fabregas was the pick of a bunch that included Nicklas Bendtner, Denilson, Carlos Vela and Philippe Senderos — teenagers who were coveted by scouts across the world as best-of-a-generation prospects. Lupoli was a talented forward who had broken scoring records as an under-17. But it never quite happened for him.
Then came Vito Mannone, a goalkeeper who was mostly a reserve during his Arsenal years. He spent eight years at the club and when he left was replaced for a season by Emiliano Viviano, who never played a competitive match. Arsenal then went almost a decade without an Italian until coach Mikel Arteta signed the Brazil-born Azzurri midfielder Jorginho from Chelsea at 31.
Pierluigi Pardo is a familiar voice on Italian TV as the primary commentator for Serie A matches on broadcaster DAZN Italy. He has strong roots in English football after living in London in his younger days, where he developed an affection for Arsenal.
“Italy is not traditionally a great land for football exports,” he says. “Italians are more comfortable at home. When players started to move more freely across Europe, Arsenal were dominant in France, and there was a greater Italian connection with Chelsea.”
Gianluca Vialli and Gianfranco Zola became beacons in blue for Arsenal’s London rivals. Together, with the craze around Fabrizio Ravanelli at Middlesbrough, they brought all the sparkle of established stars when they came to England in 1996. But Italian players in the Premier League have seldom been as dazzling in the two decades since that generation.
It is also notable that the most successful and high-profile Italians playing in England have tended not to be defenders — maybe surprising considering the hallowed status of the position in Serie A and for the Azzurri.
Andrea Rosati grew up in Parma, northern Italy, and first came across Arsenal when the two teams met in the 1994 Cup Winners’ Cup final.
Initially, mere mention of the club’s name sickened him after Arsenal did a job on a stylish Parma, winning 1-0. But, over time, Rosati grew to admire and adore Arsenal and they became his English club of choice. “The values of the club, particularly after Arsene Wenger came, glued to me,” he says.
He is fascinated by the cultural changes that see someone like Calafiori arrive at Arsenal with a worldly outlook, excellent language skills, and a capacity to adapt that is modern and exciting.
Calafiori, second-right, next to now-Arsenal team-mate Jorginho at Euro 2024 (Cesare Purini/Mondadori Portfolio via Getty Images)
“When I was growing up, Serie A in the mid-1990s was the driving force of football and attracted the best players in the world,” he says. “It looked like the Premier League is now.
“There was no great appeal to leave Serie A. Italian players were not generally willing to leave and there were certain things about England that were not so inviting. Quite apart from the physical reputation of the football, there was also basic stuff like the weather and food!
“Then Vialli happened, and Zola happened, and that changed the entire image. The Premier League became a thing. Sky TV arriving in Italy opened up the window to other countries and leagues.”
Rosati observes that in the past decade, perspectives have been broadening. Language is no longer the barrier it once was, as the current generation pick up linguistics and ideas over social media. “The world is smaller,” he says. That Calafiori could express himself in his signing video in fluent English is significant.
Benvenuto, Riccardo Calafiori 🇮🇹
Meeting new teammates for the very first time ❤️ pic.twitter.com/JbUhqOBCMN
— Arsenal (@Arsenal) July 29, 2024
As an Arsenal fan, Rosati is thrilled by Calafiori’s signing. “It is stunning,” he says. “He is flying, and was particularly keen to choose Arsenal. He is a great match with what Arteta represents and wants. What impresses most is probably his character. When he suffered a bad injury as a teenager, he reacted with such courage to come back and to follow the path, in moving abroad, that would best help his football.”
That injury, and his choices afterwards, made a big impression on Pardo. “Going to Basel (Calafiori left Roma to join the Swiss team in 2022) was a brave, open-minded decision,” he says. “Not many in Italy would have made the same choice at 20 years old. Going to Switzerland, rather than staying in Italy to try to rebuild his career, challenged him personally and professionally but it was very good for him. It is like a student going on (European Union exchange programme) Erasmus, experiencing a different country and different habits. It is a sign of his personality.
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Riccardo Calafiori, Arsenal’s new defender who got lifts from De Rossi and models his game on Stones
“Since then, Calafiori showed incredible growth in Bologna and then confirmed his quality with the national team during the Euros. He is in the tradition of great Italian defenders. Even aesthetically, he reminds us of Paolo Maldini or Fabio Cannavaro when he had hair. He has technical quality, physical strength, and consistency. Potentially, he is great.”
Calafiori helped Bologna reach the Champions League last season (Image Photo Agency/Getty Images)
The country’s official branch of the Arsenal supporters’ club, the Italian Gooners, are thrilled to have one of their own to support. They already had a banner at the Emirates — maybe it will be amended with some new visuals, or a hair transplant for decoration. Expectations are high.
“I like how he already has a chant to the song, ‘That’s Amore’, which is welcoming him with his Italian culture to north London,” says Cico Tagliavini, who lives in Highbury and has family roots in Bologna.
“I am even more happy because he is coming from Bologna, who propelled his career in a historic season (they reached the European Cup/Champions League for the first time since 1964), which is an extra source of pride. He is going from one of the teams I support to the other one. I am so excited to see him and he will be doing it on the biggest stages of all.”
As the legendary former Italy centre-back Leonardo Bonucci said, “He’s going to be a reference point for our national team for the next 15 years.”
Arsenal can only hope he achieves something similar for them.
(Top photo: Nick Potts/PA Images via Getty Images)
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.
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.
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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