Culture
Champions League draw: Predictions, best games and breakthrough star in league phase
The draw for the revamped Champions League league phase is — after what seemed like a never-ending ceremony — complete.
As expected, the new format ensured a smattering of mouthwatering games, as well as a few less mouthwatering ones, ahead of the start of the competition proper next month.
You can read an explainer on the new format here. But this is what our experts made of the draw itself…
What was your draw highlight — or lowlight?
Oli Kay: I liked the video explaining the format — even though it was a dig at people like me who have criticised it. My concern is that they seem to have given more thought to the video than to the format itself. It was like watching a surprisingly well conceived party political broadcast from a party whose policies you can’t stand.
Carl Anka: Zlatan Ibrahimovic’s acting. Saying the new format is going to be a “Super Le–” lonely to be hushed by UEFA president Aleksander Ceferin. “I’ve told you it’s not going to happen.”
Pol Ballus: Seeing club representatives taking a picture when their draw was completed as it was almost impossible to absorb all the teams they had been assigned to play against. They were not alone, we all struggled a bit.
Seb Stafford-Bloor: I quite liked the fixture-generation dynamic — that bit was fine. The trouble is, the comedic self-importance with which these draws are staged is something that I will never be able to get beyond. It was 37 minutes until a team was drawn! 37!
Thom Harris: Also Zlatan’s acting.
Cristiano Ronaldo with UEFA president Aleksander Ceferin (Valery Hache/AFP via Getty Images)
Are you a fan of this new format?
Kay: No, I hate it. It’s cumbersome and convoluted. At a time of growing concern about fixture congestion, there are going to be 144 matches to whittle down 36 teams to 24 when most of us could probably safely predict at least nine of the 12 teams that will drop out. More matches, less jeopardy. Just what football doesn’t need.
The problem with the Champions League has been growing financial inequality across Europe, not the competition format. They’re ditching a perfectly good format purely to make Europe’s richest clubs richer. It’s the worst of both worlds.
Anka: Ilkay Gundogan said it best after the attempted Super League collapsed.
With all the Super League stuff going on… can we please also speak about the new Champions League format? More and more and more games, is no one thinking about us players?
The new UCL format is just the lesser of the two evils in comparison to the Super League…— Ilkay Gündogan (@IlkayGuendogan) April 22, 2021
The new Champions League format exists because it should make more money for interested parties who want to maximise their earnings. It does little to address the growing wealth disparity that separates the old-money superpowers and clubs on the rise, and furthers the notion that the best place to watch the competition is sat at home, rather than in the stadium.
I’m sure it’ll be exciting after a few games but when you need this many explanation videos and articles to explain how the thing actually works, it begs the question as to whether you need to build it that way. More doesn’t always mean better.
Ballus: In general, I’m not. It’s messy, a league format without all teams playing each other doesn’t enthuse me, adding more games to the current fixture list won’t have any good impact on the players and losing the aura of the group stage is not great news either.
Stafford-Bloor: I am trying to be open-minded. It’s very much the Las Vegas residency era of the Champions League in its intent, with teams being pushed out on stage as often as possible, but at least it’s not the double group stage of 2002-03. Until we see the format operate for real, it is difficult to escape the motivations for this latest contortion — and to wonder what the next bright idea will be.
Harris: I’ll try to be positive too — at least we will see a wide variety of games. I’ll be interested to see how Aston Villa, Bayer Leverkusen and Girona fare against a bigger selection of Europe’s elite. How invested everyone will be in late January, when teams will still be squabbling for positions in the knockout stages – with some even needing a two-legged knockout round play-off after that – remains to be seen.
Which games are you most looking forward to watching?
Kay: Aston Villa v Bayern Munich
A repeat of the 1982 European Cup final which I vividly recall watching on my seventh birthday. Villa are one of those big clubs most of the modern elite were determined to leave behind when they tried to set up a “Super League” three years ago. Their presence in this season’s competition is a reminder not just of Unai Emery’s excellence but of how appalling those closed-shop proposals were. Villa v Celtic, the Stylian Petrov derby, is another one to savour.
Anka: Bayer Leverkusen v Inter Milan
Two managers quickly making a name for themselves on the cutting edge of European football, but both going about the job in different ways. I’m a sucker for any match-up that pits wing-back against wing-back. This should be a thriller.
Ballus: PSG vs Manchester City
A match-up between Luis Enrique and Pep Guardiola should not be missed. I am also quite intrigued by the Kylian Mbappe-less PSG, who have started the season impressively. I have the feeling they have a much bigger collective mentality that Luis Enrique will appreciate.
Stafford-Bloor: Bayern Munich vs PSG
Fascinating. Bayern are obviously a work in progress at the beginning of this new era, with Vincent Kompany coaching under the Champions League and needing to find an urgent solution to that team’s defensive issues. And PSG are always fascinating, almost perversely so. Mbappe has gone, so has that team’s gaudy aura, and so they will travel to Allianz Arena with a relatively young team that will need to earn its swagger.
Harris: Arsenal vs PSG
Another shout for Enrique’s Paris Saint Germain. Their new-look squad is ridiculously young, with some real superstars like Bradley Barcola (21), Joao Neves (19) and Warren Zaire-Emery (18) at the heart of the rebuild. They’ve already made a storming start to the new season, and a trip to Arsenal is just another mouthwatering clash from their extremely difficult draw.
Which of the traditional elite is most at risk of not making it to the last 16?
Kay: I wouldn’t call them part of the traditional elite, but, as a modern Champions League heavyweight (light heavyweight perhaps) and a top seed, Paris Saint-Germain might have hoped for a gentler draw than to face Manchester City, Bayern Munich, Atletico Madrid and Arsenal, among others.
Anka: The new format should protect against the sort of implosion and early elimination that Manchester United made in 2023-24. It’s up-and-comers Girona, Bologna and Stuttgart – who have had some of their best assets taken away in the summer – that should be most concerned. That said, AC Milan haven’t started the season well. Manager Paulo Fonseca feels like an odd fit for a squad with oscillating quality and there are some tough away matches in their set.
Ballus: PSG have one of the toughest draws. Playing City, Bayern, Arsenal and Atletico surely wasn’t what Luis Enrique wanted. Out of Pot 1, I see RB Leipzig as the team with the biggest struggle to go through.
Stafford-Bloor: It’s based on very little with the season being so young, but nothing about Hansi Flick’s Barcelona convinces me yet — and the Marc Bernal injury is just devastating. They have good players, a couple of exceptional ones, but they are not a powerful side. Perhaps this is a bias formed by his time with Germany and the many, many issues that occurred between 2021 and 2023, but I’m increasingly convinced that Flick’s success with Bayern Munich was a rare moment in time and a product of circumstance.
Are Barcelona really convincing? (Denis Doyle/Getty Images)
Harris: I think most of the Pot 1 sides should be fine given the new format, but Liverpool have probably been handed the toughest draw. Each game looks like it will be competitive, and a slip-up or two in tricky ties away to PSV Eindhoven and RB Leipzig for example could make things interesting. Xabi Alonso’s Bayer Leverkusen is a nightmare Pot 2 draw, too.
Which player could break through to become a major star in this group stage?
Kay: There’s a very Villa-heavy flavour to my answers, but I can’t get enough of Morgan Rogers at the moment. He looks like a player who loves the big stage and loves testing himself at the highest level.
Anka: The idea of Rogers and Jacob Ramsey running at defenders under the lights at Villa Park excites me. Aston Villa’s campaign will be fascinating. Unai Emery knows his way about a defensive mid-block and has built a career off bloodying the noses of richer European teams that don’t do their homework.
Ballus: I would have mentioned 17-year-old Marc Bernal here, the latest La Masia breakout star who was having an excellent start of the season, but his awful ACL rupture last Tuesday will prevent us from seeing that. So keep an eye on Yaser Asprilla, Girona’s record transfer and the guy tipped to compensate for the loss of the eye-catching Savinho, who joined Manchester City this summer.
Stafford-Bloor: I’ll take Enzo Millot, Stuttgart’s attacking No 8. He’s a component player, really, all about good timing and being in the right position at the right time, but he has developed rapidly over the past 18 months, benefiting from being at the centre of a side playing in quick, neat patterns. This should be the season that sees his reputation outside Germany catch up to where it is within the Bundesliga.
Enzo Millot is one to watch at Stuttgart (Sascha Schuermann/AFP via Getty Images)
Harris: I’m really looking forward to seeing if Viktor Gyokeres can make the step up to the Champions League. Since joining Sporting, he’s scored 49 goals and assisted a further 18 in just over 50 full games in all competitions, and is a very difficult man to stop once he latches onto a ball in behind.
Which stadium in this year’s competition would you most like to watch a game at?
Kay: I was going to say Celtic Park, which is hard to beat on a European night. But this season it’s Villa Park, given how much it will mean to Villa’s fans to have occasions like this. As a student in Birmingham in the mid-1990s, I went to see Villa play Deportivo La Coruna and Inter Milan. They were great nights and there must have been times in the past decade when Villa’s fans thought they would never see anything like it again.
Villa Park welcomes back Europe’s elite this season (Naomi Baker/Getty Images)
Anka: It’s a darn shame that Thiago Motta and others jumped ship from Bologna this summer, but the Stadio Renato Dall’Ara is a beautiful architectural work to visit, and the setting for one of David Platt’s greatest goals.
Ballus: I have to go with Villa Park here. I’ve experienced how this ground feels in a proper Premier League fixture, and I can’t imagine what a Champions League return will mean to the club. They’ve proved over the last year how they can make elite teams such as Manchester City or Arsenal look ordinary. Their fans won’t fear anyone.
Stafford-Bloor: The renovation of Stuttgart’s Neckarstadion was completed for the European Championship and the result is as fierce an environment as will be found anywhere. The seating restrictions enforced by UEFA will dull some of its Bundesliga ferocity, but VfB making their first Champions League appearance since 2010 should ratchet the intensity back up. A cauldron of a ground.
Harris: It would have been refreshing to see Champions League football at the Stade Francis Le Ble, the cornerless, single-tiered home of Stade Brest. It’s a proper throwback ground, and the 15,000 inside usually make a racket. However, at over 100 years old, the stadium doesn’t meet UEFA’s requirements to host a game, and Brest will have to play their home matches halfway across Brittany in Guingamp. A real shame.
Away from there, I’m sure it will be pretty deafening in the Holte End as Aston Villa make their return to Europe’s premier competition after over 40 years away.
Rank your top eight in finishing order
Kay: Manchester City, Real Madrid, Bayern Munich, Atletico Madrid, Arsenal, Liverpool, Inter Milan, Aston Villa.
Anka: Manchester City, Bayern Munich, Real Madrid, Arsenal, Paris Saint-Germain, Liverpool, Inter Milan, Leverkusen.
Ballus: Manchester City, Real Madrid, Liverpool, Arsenal, Paris Saint-Germain, Bayern Munich, Barcelona, Inter.
Stafford-Bloor: Manchester City, Real Madrid, Arsenal, Paris Saint-Germain, Bayern Munich, Bayer Leverkusen, Atletico Madrid, Inter.
Harris: Manchester City, Real Madrid, Bayern Munich, Arsenal, Paris Saint-Germain, Bayer Leverkusen, Barcelona, Juventus.
What are the key dates?
Matchday 1: Sep 17-19
Matchday 2: Oct 1-2
Matchday 3: Oct 22-23
Matchday 4: Nov 5-6
Matchday 5: Nov 26-27
Matchday 6: Dec 10-11
Matchday 7: Jan 21-22
Matchday 8: Jan 29
Knockout round play-offs: Feb 11-12 and 18-19
Round of 16: March 4-5 and 11-12
Quarter-finals: April 8-9 and 15-16
Semi-finals: April 29-30 and May 6-7
Final: May 31
(Top photo: Valery Hache/AFP 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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