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How Czech Republic v Turkey became the dirtiest game in Euros history

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How Czech Republic v Turkey became the dirtiest game in Euros history

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As Cenk Tosun finished off a seven-on-four counter-attack in injury time, the Turkey bench were off their seats to celebrate a 2-1 victory that sealed their qualification for the knockout stages.

It was chaotic stuff, and yet that was only the start of it. In the madcap aftermath, Romanian referee Istvan Kovacs handed out five bookings, extending the record set 20 minutes earlier for the most cards awarded in a single game at a European Championship.

Of the 18 cards shown, 16 were yellows and two were reds. Most curiously, five of the 18 were given to players who were not even on the field of play. 

It was, by a distance, the dirtiest game in Euros history. So what happened?

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The game started well for the Czech Republic, who were disturbing Turkey’s superior midfield technicians with a man-to-man pressing system.

Then came a setback: an 11th-minute yellow card for Antonin Barak. Kovacs correctly punished the Fiorentina midfielder for dragging down left-back Ferdi Kadioglu.

That should have been the cue for Barak to play it safe for the rest of the game by avoiding risky tackles, but the 29-year-old was having none of it.

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In the 20th minute, after taking a smart touch away from the challenge of Ismail Yuksek, Barak was quickly converged upon by two Turkey midfielders near the halfway line.

With the ball getting away from him and Hakan Calhanoglu closing fast, Barak stuck out his left foot in a desperate attempt to take it before Salih Ozcan.

Ozcan won the race and Barak stood on his foot, leaving him in a heap. After initially handing advantage to Turkey, Kovacs pulled play back for a foul and gave Barak his second yellow — the earliest sending-off in Euro’s history, beating the record held by former France defender Eric Abidal (24 minutes against Italy at Euro 2008).

The decision split pundits and commentators, with Andros Townsend on UK broadcaster ITV believing he had been harshly treated.

“This one was even more baffling. He’s in possession of the ball; he taps it away,” said Townsend. “It’s his follow-through that catches the Turkish player. You can always slow it down and freeze-frame it, but ultimately, he’s in possession of the ball.”

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Either way, a player of Barak’s experience should know not to take risks in midfield in a must-win game having already been booked.

After Ozcan was booked in the 31st minute, the next card went to Czech striker Patrik Schick, who was not even on the pitch. The Bayer Leverkusen player was awarded a yellow for dissent and would have missed the Czech Republic’s last-16 game if they had qualified given he had picked up a yellow earlier in the tournament.

Schick, who is the Czech Republic’s all-time leading scorer at the Euros, was cautioned after he was seen forcefully pleading the case that Ismail Yuksek should have been booked for a forceful challenge on Lukas Provod, who was left writhing on the floor.

Yuksek won the ball fairly cleanly, but given the contentious nature of Barak’s second yellow, he might have had a point.

A few minutes later, Juventus winger Kenan Yildiz received Turkey’s second yellow card of the night. After beating West Ham full-back Vladimir Coufal, Yildiz lost the ball to centre-back Robin Hranac. Yildiz left a tasty challenge on Hranac, who rolled around rather dramatically.

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Had the referee not awarded Yildiz a yellow, there might have been a mutiny in the Czech dugout.

In between that decision and the real drama which took place after the final whistle, there were yellow cards handed out to Calhanoglu, who scored Turkey’s brilliant opener in the 51st minute, Mert Muldur, Vitezslav Jaros, Lukas Cerv and backup goalkeeper Ugurcan Cakir, who will miss Turkey’s round-of-16 tie against Austria next Tuesday.

By the time stoppage time began at the end of the game, the Euros record for cards in a game had already been comfortably eclipsed (14 yellows and one red, beating the previous high of 10). But after Tosun grabbed the winner, the drama really began.

With the Czech Republic on their way home, Turkey’s exuberant celebrations at the final whistle proved too much for many of their players. West Ham’s Tomas Soucek was the first to take exception to Orkun Kokcu fist-pumping in the middle of the pitch.

Shortly after, players and coaches from the sidelines ran onto the field to join a scuffle that was breaking out near the halfway line.

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A red card — the Czech Republic’s second of the night — was then shown to Viktoria Plzen striker Tomas Chory, who had become involved in a physical tussle with Mert Gunok, Turkey’s No 1 goalkeeper.

As the referee struggled to keep control, he handed out yellow cards to Soucek and Arda Guler, Turkey’s wonderkid attacker who scored six goals in 10 league appearances for Real Madrid last season.

From a football perspective, this game was probably of little consequence. But thanks to its glorious lawlessness, especially in the dying moments, it now occupies a special place in Euro history.

(Top photo: Christophe Simon/AFP via Getty Images)

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Video: ‘Flesh’ by David Szalay Wins 2025 Booker Prize

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Video: ‘Flesh’ by David Szalay Wins 2025 Booker Prize

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‘Flesh’ by David Szalay Wins 2025 Booker Prize

David Szalay became the first British Hungarian to win the prestigious Booker Prize for his novel “Flesh.”

“I think fiction can take risks. I think it’s one of the things that it can do. It can take aesthetic risks, formal risks, perhaps even moral risks, which many other forms, narrative forms, can’t quite do to the same extent.” “I think all six of the books in the short list really, you know, not — it’s not saying this is the headline theme, but there is that theme of reaching out, wanting a connection.”

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David Szalay became the first British Hungarian to win the prestigious Booker Prize for his novel “Flesh.”

By Shawn Paik

November 11, 2025

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Test Yourself on the Settings Mentioned in These Novels About Road Trips

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Test Yourself on the Settings Mentioned in These Novels About Road Trips

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights the starting points or destinations of five novels about road trips. (Even if you aren’t familiar with the book, most questions offer an additional hint about the location.) 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.

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This Poem About Monet’s “Water Lilies” Reflects on the Powers and Limits of Art

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This Poem About Monet’s “Water Lilies” Reflects on the Powers and Limits of Art

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In the midst of the world’s unrelenting horribleness, it’s important to make room for beauty. True! But also something of a truism, an idea that comes to hand a little too easily to be trusted. The proclamation that art matters — that, in difficult times, it helps — can sound like a shopworn self-care mantra.

So instead of musing on generalities, maybe we should focus our attention on a particular aesthetic experience. Instead of declaring the importance of art, we could look at a painting. Or we could read a poem.

A poem, as it happens, about looking at a painting.

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Hayden did not take the act of seeing for granted. His eyesight was so poor that he described himself as “purblind”; as a child he was teased for his thick-framed glasses. Monet’s Giverny paintings, whose blurriness is sometimes ascribed to the painter’s cataracts, may have revealed to the poet not so much a new way of looking as one that he already knew.

Read in isolation, this short poem might seem to celebrate — and to exemplify — an art divorced from politics. Monet’s depiction of his garden, like the garden itself, offers a refuge from the world.

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Claude Monet in his garden in 1915.

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“Ceux de Chez Nous,” by Sacha Guitry, via Museum of Fine Arts, Boston

But “Selma” and “Saigon” don’t just represent headlines to be pushed aside on the way to the museum. They point toward the turmoil that preoccupied the poetry of Hayden and many of his contemporaries.

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“Monet’s ‘Waterlilies’” was published in a 1970 collection called “Words in the Mourning Time.” The title poem is an anguished response to the assassinations of Robert F. Kennedy and the Rev. Dr. Martin Luther King Jr., and to the deepening quagmire in Vietnam. Another poem in the volume is a long elegy for Malcolm X. Throughout his career (he died in 1980, at 66), Hayden returned frequently to the struggles and tragedies of Black Americans, including his own family.

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Robert Hayden in 1971.

Jack Stubbs/The Ann Arbor News, via MLive

Born in Detroit in 1913, Hayden, the first Black American to hold the office now known as poet laureate of the United States, was part of a generation of poets — Gwendolyn Brooks, Dudley Randall, Margaret Danner and others — who came of age between the Harlem Renaissance of the 1920s and the Black Arts movement of the ’60s.

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A poet of modernist sensibilities and moderate temperament, he didn’t adopt the revolutionary rhetoric of the times, and was criticized by some of his more radical peers for the quietness of his voice and the formality of his diction.

But his contemplative style makes room for passion.

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