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Carlo Ancelotti’s Real Madrid survival and the soft superpowers behind his success

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Carlo Ancelotti’s Real Madrid survival and the soft superpowers behind his success

Real Madrid coach Carlo Ancelotti was in typically relaxed form when he spoke to the media before Tuesday’s La Liga game at home to Deportivo Alaves this week.

“I’ve been lucky enough to coach 300 games at the best club in the world,” Ancelotti said. “To be on this bench is something special. To sit there 300 times… I’m not saying it’s a miracle, but almost.”

To reach such a milestone at any big European club is a superb achievement. It is especially impressive at Real Madrid, given president Florentino Perez’s history of hiring and firing coaches. Only one manager has taken charge of more games at Madrid: Miguel Munoz, with 605 between 1959 and 1974.

It helps that during both of Ancelotti’s spells as Madrid manager (he was in charge from 2013-2015 and returned in 2021) the team won the Champions League, first in 2014 and then in 2022 and 2024. But winning trophies alone is often not enough to ensure job security at the Bernabeu.

Just 12 months after delivering Madrid’s long-awaited tenth European Cup in 2014, Ancelotti was fired by Perez as serious issues arose in their relationship. His second spell has also featured several rocky moments — while also delivering two more Champions League titles.

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To survive, and thrive, in arguably the most demanding environment in football is, as Ancelotti himself recognised this week, almost miraculous.

So how has he done it?


Over almost three decades working as a manager (he started at Italian club Reggiana in 1995), Ancelotti has acquired plenty of experience working for big characters used to issuing orders and seeing them quickly followed.

At AC Milan (2001-2009), Silvio Berlusconi was the owner — as well as the domineering prime minister of Italy for part of Ancelotti’s spell. His ultimate boss at Chelsea (2009-2011) was Roman Abramovich, a secretive Russian oligarch. At Paris Saint-Germain (2011-2013), the president was Nasser Al Khelaifi, a close associate of the ruling powers in Qatar.

Between his spells at Madrid his superiors were Bayern Munich’s self-confident president Uli Hoeness (Ancelotti was there for 2016-17), Napoli’s larger-than-life president Aurelio de Laurentiis (during 2018-19) and Everton’s majority owner Farhad Moshiri (2019-2021).

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Ancelotti’s 2016 book — Quiet Leadership: winning hearts, minds and matches — includes a whole section on “managing up”, discussing his experiences dealing with colourful and powerful bosses.

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Co-written with former Chelsea director Mike Forde and management consultant Chris Brady, it was published between the Italian being fired by Madrid in June 2015 and him joining Bayern the following summer.

At Milan, Ancelotti wrote, it soon became clear certain realities had to be accepted: “With Berlusconi I learned very quickly that, since he owned Milan, my job was to please Berlusconi.”

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Ancelotti and Silvio Berlusconi pictured in January 2006 (Giuseppe Cacace/AFP via Getty Images)

On joining Chelsea, Abramovich instructed him to play a possession-based style of football. To do so, Ancelotti asked for playmaker Andrea Pirlo but when that was not possible, he used Michael Essien in that role. The book does not complain, but readers will know these are two very different types of players.

Ancelotti could handle not getting everything he wanted in the transfer market but it was more problematic that every time Chelsea lost a game, Abramovich arrived to personally demand answers.

“(That) taught me how to deal with this different kind of president,” Ancelotti wrote in his book. “I chose not to meet aggression with aggression, it is not my way. I like to think through difficult times, address the problems coolly and with reason.”

Ancelotti decided to use the owner’s interference in his job to motivate the team — and they won a Premier League and FA Cup double in his first season in charge. He wrote that the players knew Abramovich was “on my case” and they “responded brilliantly”.

It was difficult for that approach to succeed in the long term, and Abramovich fired Ancelotti after the following season ended trophyless. Next, he joined PSG, where the general director was Leonardo, “a friend of mine from Milan”.

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Within 12 months it was clear things were not going to work out. After PSG lost to Ligue 1 rival Nice in December 2012, Leonardo told him he would be sacked if they did not beat Porto in their next game. Ancelotti realised Al Khelaifi had decided that the ‘project’ was not working, so he informed his bosses he would leave at the end of the season.


Next stop was the Bernabeu, where Ancelotti quickly realised he should just focus on coaching the first team and not worry about things outside his control. In his book, he wrote about realising “you are only ever a piece of the project” at Real Madrid. He said accepting that liberated him to focus on getting the best out of his players.

Following three seasons of predecessor Jose Mourinho’s pragmatic approach, Perez wanted a more attractive style of football at Madrid. Ancelotti set to work, allowing senior figures Sergio Ramos, Xabi Alonso, Cristiano Ronaldo and Luka Modric greater responsibility. He also devised new roles for Gareth Bale and Angel Di Maria within a 4-3-3 tactical shape. It delivered ‘La Decima’ in his first season.

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The strength of the relationships Ancelotti built is shown by Ronaldo guest-writing a chapter in Quiet Leadership.

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“One of the reasons the atmosphere was so good was because Carlo protected the dressing room from the president and anything else that might upset the balance of the family,” Ronaldo wrote. “I’ve seen that he does not bow to pressure from anyone: he makes his own decisions.”


Ancelotti and Ronaldo celebrate reaching the 2014 Champions League final (Stuart Franklin – UEFA/UEFA via Getty Images)

Yet not all was perfect. Quiet Leadership also tells of Perez informing Ancelotti that Bale’s agent said his client wanted to play more centrally on the pitch. The Italian spoke directly with the player, explaining the team’s setup, and his vital role in it. He also used a press conference to tell the agent to “shut up”. Ancelotti wrote that this changed his relationship with Perez.

When Madrid lost a few games in early 2015, the club hierarchy grew concerned at a report claiming that Madrid’s training sessions were not intense enough. Ancelotti thought the squad needed more rest, especially with important players Ramos and Modric injured. The issue was never resolved, and when the season ended without a major trophy, the axe came.

Ancelotti wrote that his time at Madrid was “shorter than he’d hoped, but also longer than many who manage there”.

He added: “Leading may sometimes involve compromise, especially at the biggest clubs, but not when it comes to your expertise and you have the conviction of your decisions.”

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Returning to Madrid in summer 2021, Ancelotti was well aware of the issues that caused friction the first time around. He accepted without complaint the club adding fitness coach Antonio Pintus to his staff, and repeated often that energy and physicality were vital for success in today’s game.

But he also insisted on bringing his own son Davide, then 34, as his assistant coach. This raised eyebrows at the Bernabeu, where the number two has often been a former club legend with the president’s ear. Ancelotti talks in his book a lot about how his closest staff are like a family. Now that was literally the case.

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Ancelotti was also well aware that the president would continue to have the final say on transfer policy. That meant adapting tactics to the current squad. The team sat deeper, meaning less running for veteran midfielders Toni Kroos and Modric, and more space for Vinicius Junior to exploit. Balance came from midfielder Federico Valverde on the right wing. It paid off when Valverde assisted Vinicius Jr’s winning goal in the 2021-22 Champions League final against Liverpool.


Ancelotti is mobbed after Madrid’s victory in the 2022 Champions League final (Jose Breton/Pics Action/NurPhoto via Getty Images)

When Karim Benzema left for Saudi Arabia in summer 2023, Ancelotti wanted England captain Harry Kane as a direct replacement. That option was not seriously pursued by Perez, so instead he created a new attacking role for Jude Bellingham, who scored 23 goals as Madrid won the La Liga and Champions League double last season.

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Such success was far from inevitable. In May 2023, Madrid were thrashed 4-0 by Pep Guardiola’s City in a decisive Champions League semi-final second leg, just as Xavi’s Barcelona were easily winning the La Liga title. It was a rocky spell not unlike that which ended Ancelotti’s first term at the Bernabeu.

Ancelotti had an easy escape route — Brazil wanted him as their next national coach. His first option was always to remain in the Spanish capital, but speculation continued well into the 2023-24 campaign, with Ancelotti’s contract due to expire in June 2025.

It was an awkward situation, as Perez is not used to any coach having such strong bargaining power. The Bernabeu hierarchy considered other options, including Bayer Leverkusen coach Alonso. Meanwhile, Ancelotti’s team went on a 17-game unbeaten run, winning 14 and drawing three, including a 2-1 Clasico victory at Barcelona, putting them in control of the La Liga title race. In late December, he was offered an extension to 2026 and accepted.

“I can’t control the direction of the president, I can only hope to influence him, and the best way to do that is by winning,” Ancelotti wrote in his 2016 book.


There was another awkward moment just last month. The Ancelottis wanted Madrid to hire 38-year-old Stockport County coach Andy Mangan, who is close to Davide. Not everyone at the Bernabeu liked the idea, and in the end the Spanish authorities refused Mangan a work permit.

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That came amid a feeling around the Bernabeu that Madrid have not started the new season well, with departed playmaker Kroos badly missed. Stuttgart having more possession (54 per cent to Madrid’s 46 per cent) in last week’s Champions League group game at the Bernabeu fed a debate about the team’s style of play (even though Madrid won 3-1).

Afterwards, Ancelotti faced tough questioning from reporters well aware that Perez prefers to see his team dominating possession and playing stylish attacking football.

“Maybe we could play better, but Real Madrid fans are used to seeing ‘rock and roll’ football, not lots of touches,” he responded coolly. “We try, with our characteristics, to make the fans happy. The fans like winning more than playing well. The ideal is to win and play well.”


Ancelotti with his Real Madrid players in pre-season this August (Victor Carretero/Real Madrid via Getty Images)

It was typical Ancelotti. He made the point that his squad, especially in midfield and attack, is made up of players suited to football that is “entertaining, direct, intense, with pace”. The underlying message was that he was making the best of the players available, while everyone knew he was not primarily responsible for assembling the squad. It was all delivered calmly, showing he was in control of the situation and nobody should worry.

Not all top managers react to criticism, or interference from above, in such a way. With some, their ego gets in the way. But at this stage of his career, and his life, the 65-year-old Ancelotti has sufficient self confidence to not react to treatment others might take personally. His experience of dealing with many different owners and presidents has taught him to be philosophical.

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“I’ve learned that getting sacked — and getting recruited for that matter — is rarely just about you,” Ancelotti wrote in Quiet Leadership. “It is always about the person hiring or firing you. Do your job to the best of your ability and let others judge you because they will anyway.”

In another section of the book, he puts it differently.

“As Vito Corleone would have said in one of my favourite movies, The Godfather, ‘It’s not personal. It’s just business.’”

(Top photo: Angel Martinez – UEFA/UEFA via Getty Images)

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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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.

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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.

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Wallace Stevens in 1950.

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Walter Sanders/The LIFE Picture Collection, via Shutterstock

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?

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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.

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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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.

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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.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

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.

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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.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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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.”

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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.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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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

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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?

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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.

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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.”

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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.

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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.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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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.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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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,

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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.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

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.

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“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.

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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.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“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

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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.”

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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.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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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.

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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.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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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.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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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.

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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.

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Do You Know the Comics That Inspired These TV Adventures?

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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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