Culture
Mykhailo Mudryk doping test ‘a dagger to the heart of Ukrainian football’
It was only six months into Russia’s invasion of Ukraine when, on a balmy September evening in eastern Germany, I came across Mykhailo Mudryk shortly after midnight.
This was September 2022 and Mudryk was by then an emerging talent for the Ukrainian champions, Shakhtar Donetsk. He scored and was the team’s major attacking threat in a shock 4-1 victory for Shakhtar in the opening match of their Champions League campaign against German team RB Leipzig.
For Mudryk and his team-mates, the Champions League offered respite from the horrors of home. When Russian bombs landed in Ukraine in February 2022, many of Shakhtar’s foreign players took emergency refuge in a windowless room of a Kyiv hotel, before interventions from multiple national embassies, football federations and UEFA, the European football governing body, hatched an escape plan.
Shakhtar had, at that time, more than a dozen Brazilian players on their books, but many left for safer climes when the Ukrainian season ceased and did not return. Football did resume in Ukraine for the 2022-23 season and Shakhtar, who were first uprooted from their home in Donetsk in 2014 following Russian-backed incursions, were playing home matches in the relatively safer city of Lviv, in Ukraine’s west — though games were still frequently paused by air raid sirens.
Shakhtar’s squad was a shell of its former self, including only one player bought for more than £2million ($2.51m at current rates). This squad was largely comprised of young and inexperienced men. When they played against Real Madrid the following month, their starting team included 10 Ukrainian players, eight who had been produced by the club’s youth system and seven were aged 23 or below.
Mudryk, only 21, all of a sudden became the poster boy of a team whose indomitable spirit and improbable resistance appeared to encapsulate the Ukrainian struggle.
On that evening in Germany, The Athletic was embedded with the Ukrainian side to produce a documentary about their attempts to play on in the midst of war. I briefly spoke to Mudryk and his midfield team-mate and best friend Georgiy Sudakov as they headed out of their hotel in Leipzig in the early hours of the morning. Their heads were spinning after an unlikely victory, the adrenalin coursing through their veins. But, they explained, they also wanted to walk freely in the night, in a place where there were no shelters, no screams, no air raid sirens to force them rapidly underground, to remind themselves of normal life. For half an hour, they did that, before returning to their rooms.
At that point, Mudryk’s star was only just beginning to shine. He was raw, in the extreme, and had it not been for the untimely exodus of Brazilian players, it is unlikely he would have become risen to prominence so rapidly.
This was a player who only debuted for his national team in June 2022 yet by January 2023, following a handful of impressive performances in the Champions League, including against Real Madrid, Mudryk became the most expensive Ukrainian footballer in history. He signed for Premier League side Chelsea, who committed an initial £62m, plus £26.5m in potential additional payments dependent on his and Chelsea’s success.
This week’s news that Mudryk has tested positive for the banned substance meldonium is a dagger to the heart of Ukrainian football and leaves the player in a fight to salvage his career. The extent of the damage will hinge on the result of Mudryk’s ‘B’ sample, which is yet to be revealed, as the adverse finding relates to his ‘A’ sample, but he has been provisionally suspended by the English Football Association.
Ukraine’s Euro 2024 campaign turned into an emotional symbol of national pride (Andrzej Iwanczuk / NurPhoto via Getty Images)
Chelsea’s commitment to acquiring the player was significant, tying him to a seven-and-a-half-year contract, with the option of another year. Even in the middle of the invasion, Shakhtar managed to attract a bidding war, such was the interest. He had previously been pursued by Germany’s Bayer Leverkusen, as well as Newcastle United, Brentford and Everton in the Premier League, but it came down to a fight between Arsenal and Chelsea.
At the time, Shakhtar’s director of football Dario Srna told The Athletic: “If somebody wants to buy Mudryk, they must pay huge, huge, huge money. Otherwise the president of the club (Rinat Akhmetov) will not sell him. All the clubs must respect the president, respect Shakhtar and in the end they must respect Mykhaylo Mudryk, who is one of the best players I saw. The price is so big.”
Srna said he rated Mudryk as being only behind Kylian Mbappe and Vinicius Junior in his wide forward position and insisted big money would be required, considering Manchester United signed Antony from Ajax in a £86m deal and Jadon Sancho from Borussia Dortmund £73m, while Manchester City bought Jack Grealish for £100m.
Shakhtar, conscious of the power of sport in steering the narrative around the war, also announced upon completion of the transfer that their own owner, Rinat Akhmetov, would donate $25m to the war effort, to support in particular the defence of Mariupol and the families of those who have lost loved ones. The agreement with Chelsea also included a clause that said Shakhtar would play a future friendly against Chelsea in Donetsk, when and if that area of Ukraine is no longer occupied by Russian forces.
“It is written into the contract,” Sergei Palkin, the Shakhtar chief executive, told The Athletic in January 2023. “But actually, we did not even need to read it in the contract because Behdad Eghbali (the Chelsea co-owner) spoke with our president. Behdad supports Ukraine a lot because he is American and it is an English club, so this is a positive triangle. When you say England and Ukraine, it is important for our war support.
“It was Behdad who proposed (the friendly), because he said he wanted to help Ukraine, to help Ukrainian refugees and to support Ukrainian people. This match (in Donetsk) would be like a miracle (having not played in their home city since 2014). We would have this match every weekend if we could.”
When Mudryk was unveiled at Stamford Bridge, he did so wrapped in a flag of Ukraine. The player was born and raised in the city of Krasnohrad, close to Kharkiv, one of the most brutally hit areas of the country. “Since the the beginning of the full-scale war, my city has been bombarded with missiles day and night,” Mudryk said, speaking in a powerful video of 13 Ukrainian players talking about the impact of the war on their hometowns, released by the Ukrainian Football Association before the European Championship in the summer of 2024.
Mudryk (left) competes with Arsenal’s Martin Odegaard last month (Ryan Pierse / Getty Images)
He is a more reserved figure than his Ukrainian compatriot Oleksandr Zinchenko, who has been at the forefront of media initiatives to promote solidarity with Ukraine. He appears to be a devoutly religious figure, a follower of the orthodox Christian faith, who carries religious icons with him to games. On his chest, he has a tattoo that reads: “Dear god — if today I lose my hope, please remind me that your plans are better than my dreams”.
For his national team, the speaking has more often been done on the field, most notably when he scored the winner in a victory over Iceland to take his country to Euro 2024. Ukraine exited that tournament at the group stage and Mudryk did not score, although his nation went out only on goal difference with all four teams in Group E tied on four points after three games.
For club and country, he is yet to fulfil his potential. He has scored only five goals and recorded four assists in 53 Premier League appearances for Chelsea. This week’s sample revelation cast doubt on his ability to play at all, meldonium being a drug that previously saw the tennis star Maria Sharapova barred from competing.
GO DEEPER
Explaining Mudryk’s drugs ban: What is meldonium – and possible punishments
The adverse test was reported during a routine urine test, according to a Chelsea statement. The club added that Mudryk “has confirmed categorically that he has never knowingly used any banned substances”.
Writing on Instagram, Mudryk said the result “has come as a complete shock as I have never knowingly used any banned substances or broken any rules”.
He added: “I am working closely with my team to investigate how this could have happened.
“I know that I have not done anything wrong and remain hopeful that I will be back on the pitch soon. I cannot say any more now due to the confidentiality of the process, but I will as soon as I can.”
The English Football Association’s (FA) anti-doping regulations state that any breaches will be dealt with as strict liability violations. For example, a player will be found guilty of a violation if a prohibited substance is found in that player’s body. It is not necessary to demonstrate intent. A player’s alleged lack of intent or knowledge is not a valid defence to a charge.
A violation of the FA’s anti-doping regulations carries a maximum penalty of a four-year suspension, although mitigating factors can reduce that from anywhere from two years to just a month. The B sample will be key.
Shakhtar’s Georgiy Sudakov voiced support for his friend Mudryk (Christof Koepsel / Getty Images)
As Mudryk’s career hangs in the balance, the Ukrainian football establishment appears to be rallying behind him. Multiple sources in Ukraine, who remain anonymous because they did not have permission to speak, have indicated to The Athletic that the player suspects he may have been sabotaged while he was away with his country’s national team this season — a claim we have seen no evidence to support — but which is being taken seriously in his own country.
On Instagram, the Shakhtar midfielder Sudakov posted a message of support, urging his friend to “stay strong”.
The Shakhtar CEO Palkin, meanwhile, wrote that Mudryk is a “high-profile professional athlete”, adding that he has complete trust that the player “did not use any banned substance”.
Palkin said: “I am confident that he will prove his innocence.” Time will tell whether their faith is warranted.
(Top photo: Etsuo Hara/Getty Images; design: Dan Goldfarb)
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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