Culture
Celine Haidar, the Lebanon player struck by shrapnel, has loved ones ‘waiting for her to come back to life’
Celine Haidar dances on the upper deck of a crimson open-top bus. Around the 19-year-old midfielder, team-mates sing. A flag bearing the Beirut Football Academy (BFA) crest sways to an undirected melody of car horns, drums and mini trumpets.
It is August 10, 2024. Celine’s BFA team are celebrating their first Lebanese Women’s Football League title, achieved in a flawless, unbeaten season which reached its climax earlier that day.
But there are other noises too — the hum of Israeli fighter jets crawling above and the echo of bombs — while around the bus piles of concrete and twisted metal poke upwards into the sky.
Here, in Lebanon’s capital, life has been delineated by similar sounds and sights of conflict for decades. But they have been ever-present since Hezbollah, the Iran-backed Shiite militia based across southern Lebanon, began attacking Israel in solidarity with its ally Hamas — the Palestinian militant group in Gaza that led the October 7, 2023 attack on Israel.
But on August 10, Celine and her team-mates choose to make their own noise. In the car behind them, Celine’s father, Abbas, honks the horn with unbridled pride, prompting the cars behind to follow suit.
“We had been running from the bombing, the war,” Abbas tells The Athletic from Beirut via video call, with the help of a translator. “But they had a final to play. I told Celine I wanted to be there, despite the sirens, because they chose to play despite the sirens. They won, and we marched in Beirut, with joy and horns and pride.”
In a city accustomed to the wail of air raid sirens, it was a rare moment of rhapsody. Four months later, it would become an emotional buoy from which to cling.
Across October and November 2024, Israel ramped up its pursuit of Hezbollah agents. Civilians, including Celine and her family, evacuated Beirut’s suburbs and sought refuge in Baakline, a village in the Chouf Mountains outside the capital. On November 15, during a lull in the shelling, Celine returned to Beirut to train and work. The following day, Israel issued an evacuation order. While mounting her motorcycle preparing to leave, Celine was struck on the right side of her head by a piece of shrapnel.
Footage of the incident was shared on social media. In it, Celine can be seen wearing white trousers, white trainers and a light green jacket. She lies on a floor of amber tiles, surrounded by still-settling rubble. There is blood on her face. Her long light brown hair spools into a swelling red puddle around her. A man’s desperate screams fill the space.
After two months, Celine underwent throat surgery on December 20 and, finally, is out of a coma. But she cannot move or speak and she rarely registers sounds around her.
News of the incident travelled around the globe, igniting outrage and sorrow. Celine, a burgeoning star with Lebanon’s national team, became a symbol of the war’s destruction.
For her parents, Abbas and Saana, there is only anguish. They know they are not unique in this setting. More than 3,700 have been killed and 16,000 injured in Lebanon since 2023, according to the Lebanese health ministry, which does not differentiate between combatants and civilians. The conflict is the country’s deadliest in three decades. According to New York Times reporting, it has displaced more than one million people, crippled the economy and left schools, farms, businesses and hospitals in ruins. In Israel, dozens living in frontline communities in the north near the Lebanese border have been killed, with more than 60,000 civilians uprooted. A 60-day ceasefire, agreed in late November, is into its final 30 days.
“We’ve spent all our lives holding our children, hiding them from war, protecting them,” says Abbas, who has witnessed conflict throughout his life in Lebanon.
“We paid a big war tax, a blood tax for our daughters. So, what do we do? What did we do wrong? We only live to raise our children, to make their dreams come true. Celine was beginning her life, building step by step with football. This injury cut off her journey. I hope this experience is passed on.”
Celine Haidar was at the start of what she hoped would be a long and successful career (Samer Barbary/Beirut Football Academy)
For those who know Celine, two things repeatedly come to mind: her irrepressible smile and her incorrigible fight.
“When we think of Celine, the first thing that comes to mind is the life she brought,” says Saana. “Her spirit, her humour, her toughness, her stubbornness. We miss how she fills the house.”
The youngest of three children, Celine followed a direction only she knew, wearing the clothes and pursuing the hobbies she wanted. While devoutly religious, her zeal for life sometimes grated against Lebanon’s historic conservatism, particularly as she pursued football, a traditionally male enterprise (the nation has only one women’s league, with teams regularly folding).
Yet neither Abbas nor Saana felt they should, or could, stand in her way.
“Celine is Celine, she wants her life as she wants it,” says Abbas. “She can take what she wants and do what she wants. Yes, I give her this opportunity, as I don’t see a difference between girls and boys, but she does not need to take it from me. She did what she wanted with the strength of her personality.”
What Celine wanted most was football. She idolises Cristiano Ronaldo, whose Manchester United shirt remains draped over a chair in her bedroom. Days were spent on fields, honing her trade with the local boys. Her visions were grand: make the Lebanese national team, perhaps move to the United States, eventually open an academy.
At 17, shortly after helping Lebanon’s Under-18s to glory in the West Asian Cup — just the second time in the team’s history they achieved the feat — Celine was offered to BFA after her previous side, SC Safa, was dismantled. Head coach Samer Barbary initially declined the opportunity. He had midfielders, good ones. And a reputation preceded Celine.
“I’m a very strict coach. I’d heard she was stubborn,” Barbary says, talking via video call in December. “I didn’t think we’d get along.”
Celine, predictably, disagreed.
“She texted me,” Barbary says, a smile sneaking across his face. “‘Coach, I hear you don’t want me but I want to play so you’ll have to take me’. I said, ‘Fine, training is at 6:45 tonight.’ And we began this beautiful journey together.”
In her first two seasons with BFA, Celine helped the club win the under-19 title and a first senior league championship in the 2023-24 season, making 33 top-flight appearances in total.
Celine Haidar (on a team-mate’s shoulders, centre left) celebrates winning the under-19 title in 2023 (Samer Barbary/Beirut Football Academy)
The increasing consistency of her performances, married with her vision and insatiable aggression, earned her a new reputation as one of Lebanon’s best central midfielders, a “prodigy” according to Barbary. Despite her age, she was a pillar of BFA, wearing the captain’s armband for part of the title-winning campaign.
“They called her ‘Little Captain’, because she was smaller than all of them (about 5ft 5ins, 165cm) but she could lead,” Saana says, lifting her chin high as tears prickle her eyes.
Four times Celine was called into the senior Lebanon national team. With a fair wind, her course was unstoppable: a senior cap, a move abroad, maybe a major tournament.
The day Barbary speaks with The Athletic in late November, Celine should be attending the second day of a coaching course. For Barbary, it is another reminder of how abruptly life has been altered.
“She just needed to keep going,” Barbary says, an ache creeping into his voice. “We were planning on doing this. She was always smiling, always laughing. I just hope she gets that smile back. And she will be my captain again. We are waiting for her to come back to life, for her to be normal or to live a normal life as much as she can. Because they killed her dream.”
Abbas and Saana never feared their daughter’s spirit might cause her problems. “The only thing we were afraid of for her was war,” Abbas says.
Conflict was never far away in Lebanon, but in October 2023 their fears grew. Barbary rattles off a list of moments that will not leave him. A day in September when players and coaches hit the floor as Israel continued its two-week offensive targeting Sheikh Hassan Nasrallah, the former leader of Lebanon’s militant Shia Islamist movement (Israel later confirmed his assassination). A day in November when an under-8s and under-12s session was interrupted by bombs.
“The kids began laughing,” Barbary says. “They had become used to the sound. We don’t want kids to get used to the sound.”
The Lebanese Football Association (LFA) postponed all football matches in its affiliated tournaments in late September. But Celine refused to allow the war to disrupt her trajectory. Between evacuation notices, she left the mountains to train in what was considered a safe corner of the capital. Sirens signalled her return to life in the mountains. This was life’s cycle.
But on November 16, the cycle did not repeat. Instead, sirens wailed and Celine’s parents did not hear from her. Saana called Abbas, who was at work, and told him to find her.
“They were 500 metres away from each other (when the bombs began),” says Saana. A friend called, choking out the message that Celine was hurt. Saana asked where Celine was, her way of attempting to ask the question burning in her throat: how hurt?
“That question, you don’t even dare to ask,” Saana says. Tears stain her cheeks.
Saana was told Celine sustained a head injury and was going to Saint George Hospital in Hadath. Saana could not leave Baakline until the shelling stopped. When she finally arrived, she barged into the emergency room where her daughter lay in an induced coma.
“I saw the doctor cutting her hair off,” Saana says. “I saw her face. It was all blood. She had a gash in her head. They were cutting into it, to save her.”
Bombs continued to fall, eventually striking the hospital. Celine was moved to Saint George Hospital University Medical Center in Achrafieh following a conversation between the president of the BFA and the Lebanese health minister. Another surgery was required to stabilise her condition, before breathing tubes and prayers were assembled around her.
“I pray I was the one injured,” Abbas says. “I pray for the pain to return to me instead.”
Barbary, who travels daily to Celine’s bedside, took her BFA team-mates to visit her the following Monday. In the hospital lobby, he held a meeting.
“I told them it’s a situation we cannot erase, so we have to continue fighting,” Barbary says. “Because she doesn’t want anyone to stop. When she comes back, when she wakes up, if she can play, she wants to come back to the team playing. Every day we are training and playing for Celine. This is our objective now. We’ll be waiting for her.”
That week at BFA’s training ground, a poster of Celine was erected above the pitches, a reminder of their mission.
The Celine banner is prominent as the players train (Samer Barbary/Beirut Football Academy)
Days are divided into a rota, Abbas, Saana and her elder sister Carole taking shifts to ensure Celine is never alone (Celine’s elder brother works in Africa). Coaches and friends flitter in and out. They check her temperature. They hold her hand. They speak to her about life, about football, about anything.
“I dedicate my life to Celine,” says Abbas, who no longer goes to work. “All day, I am next to her at the hospital. All my effort in my life is for her, so that she recovers.”
In the scant hours he and Saana are home, sleep does not come.
On occasion, one of Celine’s eyes will open. Her hand will move. But progress is staggered. Complications with the sodium in her blood led to early issues. Sustenance arrived via a feeding tube. One month after the injury, the oxygen machine was removed. Days later, Celine was forced to undergo an emergency tracheostomy, a surgical procedure that creates an opening in the neck to aid breathing.
The refrain is the same among friends and families: Celine is a fighter. But a full recovery requires medical procedures unavailable in Lebanon’s limited healthcare system, leaving her family at the mercy of charity.
“We are hoping someone can read this and help us,” Saana says. “Because we need, God willing, help.”
Celine’s story, with the graphic video of her injury and its dissemination on social media, grabbed global headlines.
Lili Iskandar, a Lebanon national team-mate who plays for Saudi Arabian side Al-Ittihad, suggests the reason this particular story gained such attention is Celine’s ubiquity: a young person with a life ahead of her.
“When I heard what happened, I thought, I can be her. Anyone can be her,” says Iskandar. “My sister (who lives in Lebanon) sends me texts, saying, ‘I don’t want to die. I’m so scared.’ People ask me in Saudi, why don’t my family join me? The intention is nice, but why is the question always about us leaving our home? Why is the question not about the war leaving us?”
The news of the 60-day ceasefire between Israel and Hezbollah, agreed 10 days after Celine’s injury, is welcomed, particularly as Lebanon continues to grapple with a prolonged economic crisis exacerbated by war, political stagnation and the Covid-19 pandemic. But the truce is fragile.
Celine’s family recognise the temptation for some to paint their daughter as a symbol. But they want her to be recognised as Celine: their headstrong little girl who loves football, who “rose from nothing” to wear the Lebanese crest, who loves Ronaldo and Real Madrid, who travels to Egyptian beaches to feel the ocean run between her toes, whose grey long-haired cat still saunters into her room searching for her. She is their youngest child who moved them to a new home to keep them safe during the war, despite the job of protector technically belonging to them.
In this light, they say, Celine’s story cannot be written as a condition of war but a tragedy of it.
“I want to send a message to all the people who love peace and sports,” says Abbas. “Wars are pure losses for all parties. I hope there won’t be wars. Celine had big ambition. This ambition was killed. But let’s use this moment to give the message that it doesn’t matter your religion, your ethnicity. We’re all human beings. We deserve to have our dreams.”
(Photos: Samer Barbary/Beirut Football Academy; 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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