Culture
Concerns over fans' U.S. visa wait times for 2026 World Cup: 'Your window might already be closed'
Concerns have been raised with the United States government, including an official meeting in the White House, over fears supporters may be deterred from the 2026 men’s World Cup owing to excessive wait times to process visa applications to visit the country.
The tournament begins in 777 days and it will be at least another 18 months before many countries will be assured of qualification, yet the wait times for U.S. visa interviews in two Mexican cities are already in excess of 800 days, while it is 685 days in the Colombian capital of Bogota.
In a statement to The Athletic, the U.S. Department of State (which oversees international relations) insisted it is determined to reduce wait times but also encouraged supporters in affected countries to start applying for visas now, over two years out from the tournament and with the line-up still unknown.
The 2026 edition of world football’s governing body FIFA’s flagship tournament will include 48 nations for the first time and will be held in 16 cities in the U.S, Canada and Mexico.
It will also be the first World Cup without an overarching local organising committee, which means FIFA is tasked with pulling everything together, in conjunction with the many layers of stakeholders and bureaucracy across three nations and 16 host cities, each of which have differing levels of private and taxpayer support.
The three host countries also have differing entry criteria for visitors, which has the potential to create visa confusion for fans seeking to follow their team deep into the tournament across multiple borders.
Several host cities, including the location for the final — New York/New Jersey — are also concerned about the wait times for visas, and the potential impact on income from tourism during the tournament, but the cities are currently allowing FIFA and the travel industry to lead the conversations with the government. Some of those who have spoken to The Athletic wished to remain anonymous, owing either to sensitivity around discussions or to protect working relationships.
Travis Murphy is the founder of Jetr Global Sports + Entertainment and a former American diplomat who also once ran international government affairs for the NBA.
“My concern is this could be a disaster (in 2026),” he said. “The concerns are absolutely there on the city level. The cities are thinking, ‘They are FIFA, so they must have it under control.’ But when you realise how FIFA worked in the past with previous hosts in Qatar and Russia, it doesn’t necessarily work in the United States.
“We’re just a completely different animal in terms of how our government operates and how we communicate. And frankly, the emphasis that we place on soccer as a sport in our country.
“If this was the Super Bowl, the World Series or the NBA finals, we’d be having a different conversation. Soccer is not the biggest sport in our country. And I think that’s a fundamental lack of understanding by FIFA, perhaps just taking it for granted that it is the case everywhere in the world. But it’s not yet in the United States.”
In recent months, U.S. travel industry representatives and FIFA have raised concerns with the U.S. Department of State and the White House as the respective groups seek to organise how millions of tourists will enter the U.S. during the five-week tournament in June and July 2026. In January 2024, FIFA strengthened its staff in D.C. when it hired Alex Sopko, the former chief of staff for the Office of Intergovernmental Affairs at the White House, to be its new Director of Government Relations.
In a statement to The Athletic, a FIFA spokesperson said the organisation is working closely with U.S. Government in the planning and preparation for the World Cup, including regular discussions on critical topics such as immigration and visas, and adding it recognises “the urgency of these matters.”
The visa delays ahead of the World Cup were raised in a meeting at the White House on Wednesday, April 17, with senior administration officials in conversation with the United States Travel Association (U.S. Travel).
Geoff Freeman, president and CEO of U.S. Travel, was present in the meeting. He describes visa wait times as a “massive issue” but added: “We came away confident that the White House recognises the significance of the 2026 World Cup and will take concrete steps to streamline aspects of the travel experience for the more than eight million anticipated visitors.”
Freely available data on the website of the Department of Consular affairs details the lengthy wait times currently impacting visitor visas from markets that may be highly relevant during the World Cup, which begins in 778 days.
Forty-one countries, including much of Europe, Japan, South Korea and Australia, are part of a visa waiver programme — ESTA — to enter the United States, which means citizens of these countries can travel without obtaining a visa, so as long as their trip for tourism or business does not exceed 90 days.
However, many people, estimated by U.S. Travel to represent 45 per cent of those who visit the States, do require visas for entry. These documents, called a B1/B2 visa, also require in-person appointments at a U.S. Embassy or Consulate to take digital photographs and fingerprints, as well as an interview, in which the candidate must state their intention to return to their home countries and explain their reasons for visiting the United States.
FIFA president Gianni Infantino announces the 2026 match schedule in February (Brennan Asplen/FIFA via Getty Images)
Wait times for a visa interview at a U.S. consulate in the Mexican cities of Mexico City and Guadalajara are currently 878 days and 820 days respectively, so an application made today may not be approved before the World Cup begins. In the Colombian capital of Bogota, the current wait time is 685 days, while Panama City is 477 days and Quito in Ecuador is 420.
The 2026 World Cup is guaranteed to include the U.S, Mexico and Canada as hosts but five more nations may yet qualify from North and Central America, while up to seven may enter from the South American Football Confederation. Wait times are also dramatic in the Turkish city of Istanbul, where it takes 553 days for an appointment, as well as in Morocco, semi-finalists at the World Cup in 2022, where the wait time is 225 days.
In a statement to The Athletic, the state department said: “We encourage prospective FIFA World Cup visitors who will need U.S. visas to apply now – there is no requirement to have purchased event tickets, made hotel reservations, or reserved airline tickets to qualify for a visitor visa.”
Freeman attributes the current visa delays to the shutdown of consular offices during the coronavirus pandemic but also outlines long-standing issues.
“The U.S. is the world’s most desired nation to visit, but our market share is slipping and it’s in a large part due to long visa wait times,” he said. “If you are Colombian and want to come and bring your kids in 2026, your window might already be closed.”
A World Cup is further complicated because many supporters may wait until their nations have secured qualification to organise their trip. For the Americas, this will largely be in winter 2025 — the play-offs may be as late as March 2026 — while nations will only know the cities in which their teams will be competing following the draw, which is usually held eight months out from the tournament.
During the 2022 World Cup in Qatar, visitors were able to expedite their entry into the country by applying for a Hayya card, effectively a fan pass for World Cup ticket holders that acted as a visa for the tournament. A repeat pass is not expected to be approved by the U.S, particularly at a time of global tensions both in the Middle East and following Russia’s invasion of and continued war against Ukraine.
Freeman warned: “The U.S. is not going to change its visa policies in the short term to frankly cater to FIFA. I think where you may see the U.S. adjust some of its approach is in cooperation with Mexico and Canada. So once teams have qualified within the tournament, how do we streamline their ability to cross borders and attend games in other markets later in the tournament? I believe that’s where there will be greater cooperation and some of those discussions are already taking place.”
The answer may simply be additional staff and investment, such as deploying more consular officers at embassies, a method which has helped significantly reduce wait times from Brazil and India over the past year. Congress set aside $50million for the U.S. State Department to “reduce passport backlogs and reduce visa wait times” in a bill signed into law by U.S. President Joe Biden in March but it was not specified how and where the money will be invested.
There is a precedent for visa issues causing delays at major international sporting events in the United States. Kenya’s Ferdinand Omanyala, who set the African 100metres record of 9.77 seconds in 2021, only received his visa documentation the day before the men’s 100 metres heats began at the World Athletics Championships in Eugene, Oregon in 2022.
After securing his visa in Kenya, he took a five-hour flight to Qatar, endured a six-hour layover, then a 14-hour flight to Seattle, another three-hour layover and last of all, a one-hour flight to Oregon. He landed at 4.15 pm and immediately went to the track, where the heats commenced at 6.50pm.
Omanyala competes in the men’s 100m heats on July 15, 2022 (Carmen Mandato/Getty Images)
The sprinter said: “If you are hosting a championship, you need to waive (visa requirements) for athletes. It’s a lesson for the host country in the future, and the U.S. is hosting the Olympics in 2028 (in Los Angeles), so they need to learn from this and do better next time.”
Murphy added: “There were hundreds of athletes who were unable to travel. The World Athletics Championships was was a relatively small event compared to the magnitude of what we’re talking about with the 48-team World Cup and the millions and millions of people involved, in terms of what needs to happen.”
Playing rosters are usually only approved in the final months before a tournament, but the U.S. is expected to expedite processing to ensure players and support staff from federations are able to arrive in time for the World Cup.
The U.S. Department of State attributes the issues at World Athletics to the pressures felt by consular officers coming out of the pandemic and told The Athletic that wait times for “P-visas”, generally used by members of professional sports teams coming to participate in athletic competitions, are “low worldwide”.
Murphy said the National Security Council has established a working committee on the matter for the White House but caveated his optimism with a reminder that more instant priorities are Israel, Gaza and Ukraine. He said: “This is not a priority beyond the host cities, FIFA itself and the members of Congress who represent those host cities. But in terms of there being a broad approach that is all-encompassing and has a wide swath of support in Congress, there’s just nothing there. There’s no bills or initiatives in Congress that are focused on this.”
He added: “The conversations that needed to have started a year plus ago are not at a point where they need to be. And when you’re talking about the U.S. Government, it is essentially at a state of standstill in terms of any major movement that needs to happen from now until November of this year (when there is a Presidential election).”
The Department of State insisted it is “committed to facilitating legitimate travel to the United States while maintaining high national security standards.”
Its statement continued: “We are pleased to be an active participant in a working group with FIFA and other stakeholders on plans for the 2026 FIFA World Cup. The Bureau of Consular Affairs recognizes the importance of international inbound tourism, including for mega sporting events such as the FIFA World Cup, and is working tirelessly to facilitate secure travel to the United States. We have significantly reduced visa wait times over the past two years.”
One of the peculiarities of the U.S. political system is that there is no sports ministry to facilitate such discussions. In its absence, Murphy calls for a special envoy to be appointed, with the World Cup likely to be followed by the women’s edition in 2027 before the Olympics in LA in 2028.
He said: “There has to be somebody centralised to organise those conversations. That’s relatively easy to do. If it’s somebody that has the respect and attention of the cabinet agencies, they can have a conversation with Capitol Hill and that’s going to go a long way to getting things done.”
(Top photo: Patrick Smith/FIFA via Getty Images)
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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