Culture
Kylian Mbappe’s curious Clasico debut: Eight offsides, some big misses and clipped confidence
The date was November 24, 2018.
As referee Juan Martinez Munuera blew the whistle for full time, a disappointed Real Madrid team headed for the tunnel following a 3-0 La Liga defeat at Eibar, a game where Karim Benzema was flagged offside seven times, equalling a league record set by Elche’s Jonathas de Jesus in May 2015.
Nearly six years later, Kylian Mbappe, Benzema’s long-term replacement, went one better to make the unwanted record his own against another team in red and blue. Only this was in El Clasico in front of nearly 80,000 at the Bernabeu and millions worldwide as Real Madrid slumped to a 4-0 defeat.
Mbappe’s first Clasico was the subject of hype given he had six goals in four matches against Barcelona, including a hat-trick at Camp Nou. He also usually delivers in big games, with three goals in five matches against his current employers in the Champions League, four goals in two World Cup finals for France and 38 in 52 combined Ligue 1 games against Marseille, Lyon, Monaco and Lille.
On Saturday, Barca’s high line was expected to present him with opportunities if he and partner Vinicius Junior timed their runs, given their superior pace compared with Barcelona’s defenders.
A simple strategy on paper, but Mbappe struggled due to a combination of the occasion, an under-developed chemistry with his team-mates, and downright profligacy.
From kick-off on Saturday, Madrid’s approach was clear.
Their defenders would kick the ball up the pitch leaving Mbappe, Vinicius Jr and Jude Bellingham to win their duels.
If they lost the ball in the first phase, the physicality of Federico Valverde, Aurelien Tchouameni and Eduardo Camavinga gave them the upper hand against Barcelona’s front six. All three Madrid midfielders can also play through the press with quick passes, and this combination of qualities troubled Barca through the first half.
The final pieces of the jigsaw were well-timed runs and assured finishing, but two offsides within the opening 90 seconds of the game suggested that was easier said than done.
The second of those saw Camavinga slip Mbappe in behind in the wide gap between Jules Kounde, wary of Vinicius Jr, and Inigo Martinez after Pau Cubarsi stepped up to close Camavinga down. Mbappe raced through, but his finish was poor as he dragged it wide.
In the next 12 minutes, Mbappe twice contributed without the ball, pressing higher than he has ever done this season to force Martinez to go long and help his team regain possession. He also brought down a long pass from Eder Militao before spraying it out wide to Vinicius Jr to kickstart an attack.
Mbappe’s keenness to contribute was evident and his off-the-ball work laid the foundations for his side’s approach to the game.
Then came the third offside, which indicated that he had not learned from the previous instances.
Vinicius Jr once again pinned Kounde on the right and, while Cubarsi did not push up, Mbappe found space between the two Barcelona centre-backs. Mbappe looked over his shoulder, but still began his run a tad too early from Camavinga’s pass.
He was flagged offside after squaring the ball for Bellingham, who forced a fantastic save from Inaki Pena…
More off-the-ball pressure on Martinez forced another Barcelona turnover before the most glaring of Mbappe’s eight offsides arrived in the 19th minute. In this instance, too, he looked over his shoulder but made a premature run to meet Bellingham’s hooked pass forward from the right wing.
Six minutes later, Barca trapped him offside yet again. On this occasion, Mbappe got himself back onside but kept watching the ball, meaning he did not notice Cubarsi taking an extra step forward. When Ferland Mendy played him in from the left, he was a few inches ahead of the back line.
Mbappe was getting closer to figuring it out, though, and seemed to have done just that on the half-hour mark.
A searching ball from Antonio Rudiger found Lucas Vazquez on the right flank. Mbappe was notably offside when Vazquez received the ball but tracked back as Alejandro Balde closed down the Madrid captain. A couple of touches later, Vazquez released Mbappe in between and behind the centre-backs, and he raced forward before finishing with a deft chip…
… only for Madrid’s joy to be cut short after a VAR check.
This was the closest of the lot as the semi-automated replay below suggests. Interestingly, Vinicius Jr seemed to have his doubts when the goal went in as suggested by his initial hesitance (watch above) to join the celebrations.

The marginal nature of the call suggests that Vazquez, who had time and space thanks to Bellingham’s positioning, could have played the pass earlier.
Three minutes later, another long ball from the home defence caused Barcelona problems. Mbappe won the one-v-one against Cubarsi and raced forward, only for Martinez to track back and flick the ball behind for a corner.
That was the striker’s final telling contribution of the half as the teams went into the break level.
Madrid had created openings but, as the expected-goals (xG) chart below shows, offsides had rendered them largely meaningless with their xG not too far away from Barcelona’s, despite the visitors creating little of note.
The second half offered Madrid a chance to build on their dominance and, four minutes in, Mbappe made a well-timed run from behind Cubarsi to latch onto a Vazquez pass on the counter. His first touch was slightly heavy, allowing Cubarsi to put the ball behind for a corner. But this was encouraging for the Frenchman and his side.
That optimism, however, evaporated quickly.
In the 54th minute, the first signs of issues with Mbappe’s pressing could be seen. A half-hearted attempt to stop Marc Casado allowed the Barca midfielder to saunter into space and thread the needle to find Robert Lewandowski in Barcelona’s first successful attempt to play through Madrid.
Lewandowski, onside due to Mendy’s poor positioning, was clinical with his finish. The visitors led 1-0.
Two minutes later, more tepid pressing high up the pitch and a neat Barcelona passing move — made possible by the composure of half-time substitute Frenkie de Jong — saw Lewandowski score again from a Balde cross.
Now 2-0 down, Madrid’s backs were against the wall, but they created nothing of note until the 61st minute when Mbappe conjured his first legitimate shot of the game. Receiving a pass from Camavinga on the left, he cut inside on to his favoured right foot before firing a low shot straight at Pena.
A second shot followed three minutes later, coming after another well-timed run by Mbappe between Cubarsi and Martinez. He latched onto Vinicius Jr’s outside-of-the-boot pass from the left wing to bear down on goal, but Pena came well off his line to narrow the angle.
Rather than taking it around or lifting it over him, Mbappe shot first time, and straight at Pena.
Mbappe’s involvement was growing, but his struggles with the offside trap returned in the 66th minute.
Following a miscontrol by Raphinha in Madrid’s defensive third, Vazquez found Valverde, who was immediately closed down by Dani Olmo. Mbappe remained offside during both these actions.
Valverde initially looks up to find Mbappe (as well as Vinicius Jr and Bellingham) still in an offside position, allowing Olmo to apply more pressure. With no other options, he played the only available pass: to the Frenchman. Mbappe went on to finish the move with a shot into Pena’s far corner but was glaringly offside once again.
Mbappe’s third and final shot of the match came in the 71st minute.
After Olmo lost possession in his own half, Luka Modric lifted the ball over the back line to find Mbappe, who timed his run on Martinez’s blindside to perfection to create another one-vs-one opportunity. This time around, Pena stayed closer to the edge of the six-yard box, daring Mbappe to beat him at either post.
Mbappe chose the far post, but his execution was poor as Pena saved once again without breaking a sweat.
Mbappe’s final involvement in the game came in the opening seconds of stoppage time in a near-perfect example of how Madrid envisioned their original game plan would play out.
Bellingham drew Cubarsi forward for a long ball, which travelled over both and into the path of Vinicius Jr. He comfortably turned Kounde on the halfway line before finding Mbappe on the left flank. Mbappe raced through and forced a near-post save from Pena but, thanks to a clever dart backwards by Martinez, Cubarsi could recover to re-lay the offside trap again.
The result? The assistant referee’s flag went up yet again, marking 12 infractions for the hosts and eight for Mbappe alone…
In between Mbappe’s final shot and final offside, Barcelona had scored twice. The first was a thunderous near-post effort from Lamine Yamal, partially reminiscent of Mbappe’s first goal from his Camp Nou hat-trick in 2021. The second was a deft chip by Raphinha, who easily broke Madrid’s final line of defence from a long ball after they committed men forward.
Those goals epitomised what Madrid needed from Mbappe on the night, but he could never put both together.
At times, the occasion and perhaps an eagerness to make an impact seemed to overcome him; at others, he simply did not display the confidence that many associate with his game, particularly in front of goal. Being on the wrong side of those margins does not go unpunished in fixtures as big as this.
There is also the question of synergy with his new team-mates, which will improve with time. The Barcelona match stands out due to the volume of offsides, but it is worth noting that Mbappe had been caught offside at least once in seven of his nine La Liga games before Saturday.
Mbappe’s frustration shows (Pierre-Philippe Marcou/AFP via Getty Images)
Madrid as a team have been caught offside only 24 times this season, and Mbappe has contributed 17 of those. Vinicius Jr was offside twice against Barcelona but only once previously all season. The Brazilian has been smart with his runs in the knowledge of when his team-mates will release the ball and the awareness that he can beat most defenders with his pace.
For this partnership to work on the biggest stages — particularly given the duo’s limitations in leading the press — Mbappe will need to develop a similar in-game intelligence on top of improved chemistry with his team-mates. He will also need to reduce his profligacy when the chances arrive, with his six league goals this season coming from an xG of 7.7.
Playing for Madrid was Mbappe’s ultimate dream. With that realised, the hardest part of the job begins now.
(Top photo: David Ramos/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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