Culture
How England rescued their Euro 2024 campaign with an overhead kick and a 'time travel' goal
The writing was on the wall for England and their head coach, Gareth Southgate.
A tournament marked by underwhelming performances was set to end in Gelsenkirchen, with a limp showing against the 45th best team in the world.
But then, Jude Bellingham stirred. In the space of three minutes and 17 seconds, England — and Southgate — were saved.
Was this the moment that changed everything?
England will certainly hope so. They say greatness is forged from adversity, but England were not in difficult circumstances when Bellingham took flight deep into stoppage time.
They were desperate.
(Adam Davy/PA Images via Getty Images)
Trailing 1-0 courtesy of Ivan Schranz’s first-half strike for Slovakia, England were essentially out of time. Six minutes of stoppage time had been added to the end of the match and four and a half of those had already elapsed.
The ball had bounced out for a throw-in on the England right flank. Desperate times called for desperate measures. For much of this tournament, England have laboured on the ball, lacking a clear playing identity. But all of that talk was irrelevant now. They just needed to find something, somehow, from somewhere.
So they resort to a good, old-fashioned long throw. One footballer chucking the ball with all his strength into the box with his hands, hoping for the best.
Kyle Walker was England’s honorary Rory Delap — a former Ireland international who made his name with a bullet throw for Stoke City in the 2000s — although he lacked Delap’s legendary distance.

His throw into the box would only just reach the six-yard box. England had seven players waiting in the penalty area, hoping it would land kindly.
It is defender Marc Guehi who makes the all-important first contact. He is being marked tightly, but his header turns a sub-par long throw into a good one. The flick-on keeps the attack alive.

Waiting around the six-yard box is first Ivan Toney, who is shielding another Slovakian marker, Norbert Gyomber. In doing so, he leaves space.
Bellingham then drifts away from his marker, Denis Vavro, as if guided by the hands of fate.
He takes that open space and the ball arrives slightly behind him. No matter. There is no hesitation from Bellingham, no second-guessing. No doubt.

This is a player who rises to the occasion and has done so time and time again.
This season alone, Bellingham has been a difference maker in stoppage time six times, either securing a win or equalising late for England (now twice) or Real Madrid (four times). This includes a stoppage-time winner against Barcelona in El Clasico, as well as a stoppage-time winner against Union Berlin in the Champions League — a goal that saw him become the youngest player to score a 90th-minute winning goal for Real Madrid in that competition and the youngest Englishman of any side to do so.
Playing for England invites a torrent of pressure that can deprive even the best in the game of their senses, but not Bellingham. His instinct was to attempt one of the most difficult techniques in the game at the most crucial junction of England’s tournament.
“Overhead kicks are a rarity in football and for that reason, it is the type of sequence or action that you rarely if ever train as a goalkeeper,” explains former goalkeeper Matt Pyzdrowski. “The moment of surprise alone is a big reason it can often feel like it’s a more difficult save for the goalkeeper to make. It’s not uncommon in these moments for the goalkeeper to be startled by the bravery and creativity of the striker to attempt such a magnificent shot that you get caught up in the moment and never really get yourself set or in the correct position to make the save.”
Bellingham needed no invitation to join the pantheon of England greats — Hurst, Platt, Beckham, Owen — by scoring in iconic fashion at a major tournament.
He lifts into the air, twists his body and throws his right leg at the ball.

He connects perfectly and redirects the ball into the ground and beyond Martin Dubravka — who otherwise had enjoyed a quiet evening.
This was England’s first shot on target in the entire game.
But England were alive.
“In desperate times we need desperate measures and great players try outrageous things,” said The Athletic columnist and former England international Alan Shearer. “Most times they fail, but for great players they work sometimes. To try that in such a tense moment and not be worried about the outcome says how great he is. It may just be the spark (England need).”

Bellingham runs away and can be seen shouting “who else” to the fans and to the cameras.

After being embraced by his grateful team-mates, he performs his iconic celebration, with his arms outstretched, alongside the captain Harry Kane.

“One of the best (goals) in our country’s history I reckon,” declared Kane to FOX. “What a player. He works so hard for the team. There’s been a lot of talk about him over the past couple of days, but he stepped up in the big moment. That’s what we need and he did that today.”
Kane, though, would have more to say in this game. The job was not yet done.
The match would trundle on until the 97th minute and then, the clocks reset. We travel back in time to the 90th minute for the start of extra time. Thirty more minutes of action to see whether the two teams could be separated before the looming threat of penalties — England’s kryptonite.
But England retain the momentum following Bellingham’s moment of brilliance. And again, it is a set play that helps them on their way.
Straight away, substitute Ivan Toney wins a free kick on the right flank and Cole Palmer takes it. The clock has reached 90 minutes and 45 seconds.

But Dubravka is commanding and punches the ball clear.

It falls to Eberechi Eze on the edge of the box, who tries to volley for goal but gets it wrong, so wrong that it inadvertently keeps the attack alive. His shot bounces into the ground and towards Ivan Toney, who had momentarily slipped but regained his balance. The Brentford striker had a hand in the first goal, but now he will take centre stage.

Toney heads the ball first time across goal, generating enough power to lift the ball over five players and leave goalkeeper Dubravka backpedalling. It is an inch-perfect header.

It is also a present for captain Kane. He heads the ball into the net as the clock hits 90 minutes and 51 seconds.

From despair at a dismal performance to relief and elation. England kept their Euro 2024 hopes alive with a defining spell lasting three minutes and 17 seconds. An equaliser in the 95th minute and a winner in the 91st. It might look odd on scoreboards, but no England fan will care.
Looming post-mortems were put on ice. Southgate’s side laboured throughout their encounter with Slovakia and they will know that they simply have to improve if they are to go further in this tournament. The talent within their squad demands performances of better quality and relying on moments of inspiration will surely not be enough to beat tougher opposition.
But for the faults of this encounter, it will still be a game that evokes fond memories. This was also the match where Bellingham etched his name into the collective memory. In doing so, he gave his coach a stay of execution. But who knows, this may also be the match that sees England turn a corner.
“I had belief right the way through that we would get that goal,” said Southgate. “I didn’t think it would come that late, but I wasn’t ready to go home yet and the players clearly felt the same.”
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(Top photo: Chris Brunskill/Fantasista/Getty Images)
Culture
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Culture
Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose
At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.
The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.
With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.
“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”
Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.
In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.
Your work has been categorized as Black romance, but how do you see yourself as a writer?
I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.
What intrigued you about the period of history you capture in the Hollywood Renaissance series?
I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.
What about that period feels resonant now?
The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.
How does this moment in your career feel?
I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.
Why would it all go away?
Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.
When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.
Why are you so firmly committed to defending the “happy ending” in romance novels?
It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.
I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.
You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?
First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.
How does this apply to being a very visible Black author in romance?
I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.
How do you define success for yourself at this point?
I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.
Culture
How Many of These Books and Their Screen Versions Do You Know?
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 the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.
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