Culture
Comedic misses, brilliant 'keeping and 24 minutes of pure drama – the 34-kick penalty shootout
Maybe we should have known right from the start that this was going to take a while.
Panathinaikos’ Argentinian midfielder Daniel Mancini stepped up to take the first penalty of their shootout against Ajax, the Greek side having scored a late equaliser to force the Europa League qualifying tie on Thursday night to go to spot kicks.
But while he did technically ‘take’ the penalty, he might as well have just blown on the ball for all the force he put behind it when he kicked the thing. A pathetic penalty that 40-year-old goalkeeper Remko Pasveer saved easily was the most appropriate way to start a shootout that featured slapstick, rank incompetence and occasional bursts of excellence.
In total, there were 34 penalties. That, we probably don’t need to tell you, is a UEFA competition record. In all, 25 were scored, two missed the target entirely and seven were saved — five by Pasveer and two by Panathinaikos goalkeeper Bartlomiej Dragowski.
Ajax, who went second in the shootout, had five ‘match points’ — penalties would have won the tie — and flubbed the first four before emerging victorious.
Striker Brian Brobbey was brought off the Ajax bench during extra time, perhaps not explicitly to take a penalty (there were 10 minutes remaining when he came on) but certainly with a shootout in mind. He was one of the 12 players who had to take two penalties. He missed them both. What’s more, both of them were potential clinchers.
Missing one penalty in a shootout will bring deep shame and embarrassment, but you’ll get over it. Missing two is the sort of thing that could haunt you for years. Missing two potential winners… well, at least his side won in the end.
After that first (terrible) penalty from Mancini, the next eight were very smartly taken by, among others, Steven Bergwijn, Kenneth Taylor (both Ajax) and former Leicester City winger Tete (for Panathinaikos).
Then it started to get weird. Brobbey stepped up, and there seemed to be an expectation that he would make short work of this: he isn’t a regular penalty taker, but had only missed one in his senior career and had a prolific conversion rate as an academy player. The home crowd chanted his name, he puffed out his cheeks, hit it with reasonable power to the ‘keeper’s right… and Dragowski saved it. The air left the stadium like it had suddenly become a spaceship’s airlock.
Is it possible to ‘morally’ miss a penalty that you actually score? If so, that’s what the Greek side’s next taker, Dutch midfielder Tonny Vilhena, did. He is a Feyenoord youth product and spent eight seasons in their first team… which is another way of saying the Ajax crowd hated him.
He struck a low kick to Pasveer’s right, and the goalkeeper got down well to get more than a hand (an arm, perhaps?) to it…
… but the ball squirted from underneath him, briefly looked like it might stay out — to the point that the Ajax fans started to celebrate — but eventually span across the goalmouth and trickled into the opposite corner.

Vilhena, having heard the thoughts of the home crowd, decided to give a bit back by shushing the terraces. Would this come back to haunt him later on in the shootout? Surely not.

Next up for Ajax was Jordan Henderson, perhaps as much to remind everyone that he still plays for them. Henderson and penalties are not especially good friends: it’s easy to forget because England won, but he missed in their shootout victory at the 2018 World Cup against Colombia, and has since only taken one competitive penalty in regular time for club or country… which he also missed for England in a pre-Euro 2020 friendly against Romania. Happily, he didn’t have any problems here, side-footing straight down the middle and into the net.
GO DEEPER
Jordan Henderson – the serial winner who is now just an idea for fans to hate
Then, another miss: Nemanja Maksimovic erred for Panathinaikos, saved brilliantly by Pasveer. But again Ajax couldn’t take their chance, with Bertrand Traore skewing his effort both high and wide, which is quite difficult to do from 12 yards. It was after this penalty that a squabble broke out in the centre circle, both teams getting tetchy at this extended shootout, and referee Chris Kavanagh booked a player from each side.
The next penalty was Panathinaikos’ Sverrir Ingason, who went low but too close to Pasveer, who bagged his third save. At this stage, he and opposite number Dragowski hugged and started laughing: yes, it was getting quite silly now. And it got even sillier when Ajax passed up yet another chance to win it, as Dragowski saved from Ajax defender Youri Baas.
This was the penalty shootout that nobody seemed especially keen to win. On the touchline, the look on the face of Ajax coach Francesco Farioli suggested he was watching himself undergo open heart surgery. His opposite number, Diego Alonso, looked similar.
However, the next 14 penalties were all excellent, with the goalkeepers barely having a chance. They took kicks themselves and scored with minimum fuss, only ramping up the tension. After all, 14 penalties is a full normal shootout and a half. The Panathinaikos substitutes and coaches, arms locked on the touchline, were told off for encroaching onto the pitch. At some point, Farioli retreated from the touchline and sat alone on the bench, his aorta pulsing about two feet in front of him.
But then, another chance to win it for Ajax: Panathinaikos centre-back Filip Mladenovic tried to go for power, but it was too close to Pasveer who saved to his left.
Redemption presented itself. Just as he had earlier in the shootout, Brobbey strode forwards knowing that if he scored, Ajax would be through. He stepped up, puffed out those cheeks again, resolved not to make the same mistake again — this time, he wasn’t going to let Dragowski get anywhere near it.
And he didn’t — the trouble was that the only people who did get anywhere near it were in the back rows of the Johan Cruyff Arena. Brobbey launched an absolute Chris Waddle of a penalty high into the stands…

… and then proceeded to crumble to the turf…

… face down, unable to believe what he had just done…

… providing a classic ‘you can see the exact moment his heart breaks in two’ moment…

But wait. Here comes Vilhena. You’ll remember from earlier that the former Feyenoord man had shushed the Ajax fans after (just about) scoring his first penalty, which you can understand: he was getting abuse, he scored, and his work was done for the night because there’s no way he would have to take another penalty, right?
Ah. Alas for him, he was facing the extraordinary Pasveer again. The 40-year-old isn’t Ajax’s first-choice goalkeeper, but he took his chance to make an impression here: Vilhena tried the same penalty as his first but this time, Pasveer got more of his body behind it and kept it out for his fifth save.
“Five is quite a lot, yes,” he deadpanned after the game, also saying that he was laughing with former Ajax midfielder Wesley Sneijder, on the touchline working for Dutch TV, during the shootout. “I save a penalty now and then, but I don’t think you often experience something as crazy as this.”
Pasveer last saved a regulation-time competitive penalty in 2021, in the Eredivisie while playing for Vitesse against Heerenveen. The last shootout he was involved in was again for Vitesse, against AVV Swift in the KNVB Cup (Dutch Cup) in 2017. He didn’t save any that night.
Ajax goalkeeper Pasveer celebrates during the shootout (Nikos Oikonomou/Anadolu via Getty Images)
“Remko asked why there was never a picture of a goalkeeper who has kept a clean sheet,” Farioli told AFP, referencing the many photos of Ajax greats that adorn the stadium’s walls. “I told him he should maybe play a bit better. But now I think we should quickly hang up a picture of him.”
Once more, Ajax had one kick to win it. This time they did something interesting: whereas the other players who had taken a second penalty had done so in the same order as the first round, Ajax mixed things up by sending winger Anton Gaaei up for their 17th penalty, in place of Henderson. He went low into the bottom corner, Dragowski went the wrong way and finally, finally, finally, it was over.
From the moment Mancini took the first penalty to Gaaei’s winner hitting the back of the net, 24 minutes and two seconds had elapsed. Ajax won 13-12 and progressed to the play-off round. If they beat Polish side Jagiellonia Bialystok they will qualify for the Europa League league phase.
This wasn’t the longest penalty shootout of all time. That title still belongs to SC Dimona and Shimshon Tel Aviv, who took 56 penalties in the Israeli third-tier play-off semi-final earlier this year.
But from Pasveer’s saves to Brobbey’s brace of misses and Farioli’s utter despair, there was more than enough drama to go around here.
Ajax face NAC Breda in their second Eredivisie game of the season this weekend. You suspect a nice, quiet, boring 1-0 win will do them nicely.
(Top photo: Nikos Oikonomou/Anadolu via Getty Images)
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
Culture
Can You Identify Where the Winter Scenes in These Novels Took Place?
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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