Culture
Mikel Arteta’s time at Man City and the training drill that transformed Raheem Sterling
It is the training drill that helped transform Raheem Sterling from a zippy winger who narrowly reached double figures each season into a back-post assassin who was among the most lethal goalscoring wingers in Europe.
The change happened in the 2017-18 season, Pep Guardiola’s second in charge of Manchester City, the club Sterling returns to face this Sunday as an Arsenal player.
It is Sterling’s current manager, Mikel Arteta, Guardiola’s assistant from 2016 until 2019 when he left for the Emirates, who played a key role in extracting that staggering efficiency in front of goal.
Guardiola had assistants more senior than Arteta, who was in his first coaching role, so he had the bandwidth to focus on specialisms and learn from as many departments as he could.
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Mikel Arteta: The Manchester City years
He kept finding himself gravitating to analysis, with his inquisitiveness leading down many a rabbit hole. His thirst to understand specific moments in the game on a granular level helped focus the work of Arteta and the analyst team but it also saw their research become part of the first-team decision-making process.
There were several projects they worked on which produced dramatic improvements: goalkeeper penalty tactics, the diagonal full-back-to-winger pass that Ben White and Bukayo Saka have perfected, and quantifying what made a penalty-box predator.
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Arteta started looking at wingers around the world, searching for the sweet spot with the use of data. He and the analyst team broke it down into which area these wingers scored most often from, how many touches they took and how quickly a shot had to be taken.
The higher the level, the less time and space players have to shoot. There were also zones identified where most goals are assisted and scored.
From that, a drill was deduced in the academy which Arteta modified and introduced into the first-team environment for Sterling to work on.
Arteta modified a training drill at City to help improve Sterling as a winger (Julian Finney/Getty Images)
Guardiola’s fitness coach Lorenzo Buenaventura is credited with ensuring City train the way they play by making sessions game-realistic. Again, the club’s research informed their thinking as they found fast breaks required far longer sprints than would usually be associated with counter-attack training, so Buenaventura implemented a 60-yard sprint at the start of the exercise.
Sterling then had to shoot inside a marked square under pressure from defenders but the sprint meant that, by the time they got there, they had a lack of oxygen in the brain, which makes decision-making more difficult.
Arteta carried a stopwatch during the drill and if the shot was not taken in the allotted time, he called it dead and they would start over. The emphasis was on the need to act decisively, not to overcomplicate, which is what those privy to Sterling’s evolution at City believe was the key lesson he learned.
With little time to train due to the relentless schedule, these sessions after training were important in hammering home the message. Video work helped, too, with clips of wingers such as Arjen Robben and Franck Ribery, whom Guardiola worked with at Bayern Munich, used in combination with the 16 cameras at the training ground to show exactly what they were looking for.
Clips of Ribery and Robben, who were at Bayern with Guardiola, helped explain what they wanted from Sterling (JOHANNES EISELE/AFP via Getty Images)
Sterling arrived in 2015 as a 20-year-old who had electrified Anfield with his dribbling as part of the Brendan Rodgers team that came agonisingly close to winning the Premier League in 2013-14. Manuel Pellegrini was the manager but when Guardiola arrived a year later there had to be a change to his game or he would not fit into his system.
As the change to Jack Grealish’s game since moving from Aston Villa in 2021 has shown, Guardiola asks his wide players to be more subservient to the team structure than some other managers.
One of the principles Guardiola introduced at City was the need to always look for the free man in possession. To do that, a player had to understand when he was in a clear one-v-one situation. If that was the case, they were encouraged to be aggressive and take on their man, but if they were doubled up on, logic dictated a team-mate must be free elsewhere.
Sterling got 10 goals and 15 assists in all competitions in 2016-17. It was a healthy return for a young player. He had got 11 and nine in 2014-15, and 11 and eight in 2015-16.
But it was not elite level and neither was Leroy Sane’s total of nine goals and five assists in his debut season after joining from Schalke. Once Arteta started working with the forwards more in that second season, it unlocked numbers that had hitherto been out of reach for players who thrilled but often flattered to deceive.
Success reinforces the habits, though, and that is why Sterling was so receptive to diluting some of his natural game in pursuit of being the difference-maker.
It almost became comical how many of his goals were scored from the same location. But this was not coincidence, it was design by Guardiola.
The most potent assist zone was identified as the byline area inside the penalty box. City worked tirelessly on finding their wingers in that position, and if one was there then the other should be on the opposite side ready for the cutback or to tap home the square ball across goal.
In 2017-18, Sterling got 23 goals and 14 assists. His shot conversion rate almost doubled from 10.9 per cent to 20.7 per cent as City won the league with 100 points — a total no other team has reached.
The next season, he got 25 goals and 14 assists, with Arteta’s final season at City (he left for Arsenal in December 2019) seeing Sterling record his highest goals tally of 31.
Sterling record with Arteta
His numbers dipped slightly the next two seasons, albeit still scoring in double figures, before moving to Chelsea. His struggles there are no surprise when you consider the stability and structure of Guardiola’s football.
It had been the perfect platform, whereas Chelsea have adopted so many different identities and such an aggressive recruitment strategy that continuity and consistency were hard to find.
After being bombed out of the Chelsea squad this summer, with manager Enzo Maresca backtracking on previous comments about his importance, Sterling still had tens of millions he could have collected.
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When Arsenal’s sporting director Edu Gaspar presented the opportunity to reunite Arteta with his former winger, understandably, he had questions. Sterling is 29 now and has achieved almost everything there is to achieve.
“The first call I had with him, I knew in the first 10 seconds we have to bring him,” said Arteta earlier this month.
“That was my only question mark: what stage is he at in his career? After 10 seconds I knew already, before the next questions, that we needed him here.
“He looks great. He’s got a lot of energy, a smile on his face and he’s at it. He wants to prove a point and when someone’s got that in his belly, you sense it straight away. Obviously, I don’t need to know anything else about his quality and what he can bring to the team.”
The timing of Sterling’s arrival could not have been better. He had two weeks during the international break with only a handful of senior players to refresh his muscle memory on Arteta’s methods and the principles that took his game to a different level.
It has been five years since they last worked together, in which time both have evolved. Sterling has leant into fatherhood and his religion, while Arteta is a different beast to the coach he worked with one-on-one, having seen how he commands an entire squad. They will hope that shared maturity can make a difference on Sunday against City.
Sterling has performed well individually against his former club, scoring in both of Chelsea’s meetings against them last season. He has proven he knows how to hurt them and gave Kyle Walker a very difficult evening in the 4-4 draw last November.
Arteta has found a way to access Sterling’s untapped reserves before. He will be hoping he can do it again.
(Top photo: Arteta and Sterling at City in 2019; Marc Atkins/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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