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Saquon Barkley’s 3 TDs power Eagles to ‘sloppy’ win over Packers in Brazil

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Saquon Barkley’s 3 TDs power Eagles to ‘sloppy’ win over Packers in Brazil

SÃO PAULO — “It was sloppy,” DeVonta Smith said. And he wasn’t talking about caipirinha cocktails. He wasn’t talking about field conditions in a soccer venue in the first-ever NFL game in South America. No, the wide receiver was stating what was visible as the Philadelphia Eagles debuted their revamped system under offensive coordinator Kellen Moore.

“It was sloppy,” Smith repeated. “But we responded well.”

Indeed, they did. They’re 1-0 after their 34-29 victory over the Green Bay Packers at Arena Corinthians; despite Cam Jurgens snapping the ball to Jalen Hurts when the quarterback wasn’t ready; despite Hurts twice forcing the football into heavy coverage on passes that resulted in picks (one in the end zone); despite Jurgens and Hurts mishandling a last-minute “Brotherly Shove” snap that, instead of securing certain victory, preceded a field goal that gave the Green Bay Packers one last attempt at a possible comeback.

“We’re working out kinks,” said Jurgens, who took ownership of both fumbles. “When you can work things out and still get a win, it’s a good feeling.”

Saquon Barkley saved their pigskin. He jumped on that final fumbled snap. He accounted for three of Philadelphia’s four touchdowns. He logged 109 yards on 24 carries and two scores, plus two catches, including an 18-yard touchdown on a well-timed wheel route. He made general manager Howie Roseman quite happy that he set a franchise record in per-year spending on running backs by signing Barkley to a three-year, $37.75 million deal in the offseason.

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“He had a hell of a game tonight,” Hurts said. “I’m happy that he’s on our side.”

The Eagles haven’t wielded a weapon quite like Barkley since LeSean McCoy. As sufficient as D’Andre Swift and Miles Sanders were in Philadelphia’s backfield the last two seasons, neither running back possessed the start-stop speed or the burst that busted Barkley deep beyond the Packers defense on an 11-yard touchdown run and a 34-yard scamper into the open field.

At last, he had blocking. Barkley, who averaged 1.35 yards before contact in six years with the New York Giants, according to TruMedia, said in training camp that he chose to sign with the Eagles partly due to Philadelphia’s formidable offensive line. There, on that 11-yard score, was a colossal chasm between Jurgens and right guard Mekhi Becton. Barkley made one sudden cut, and the Eagles suddenly led 14-12 with 5:38 left in the first half.

“They did a really good job of just setting up for me,” Barkley said. “I just try to stick to my rules. That’s my big thing to share is, you know, sometimes I can tend to try to do too much. And I don’t have to have that mentality, but I let (the offensive line) work. And when it’s time to do extra stuff, I’ll be ready for that too.”

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Speaking of “extra stuff,” Moore wasn’t restricted from deploying the pre-snap motions that’d been part of his philosophy. Eagles coach Nick Sirianni, whose 2023 system was the most stagnant in the NFL, had said earlier this week that “no one really knows what we’re going to do.” By my count, the Eagles used pre-snap motion on 47.3 percent of their plays against the Packers.

That included Dallas Goedert motioning left into a swing pass in which Goedert gained 1 yard. That included Britain Covey switching from wide right to wide left and Hurts hitting Goedert for a 4-yard gain in the space Covey once filled. That included A.J. Brown quickly stepping from the slot to just beyond Goedert, matching Brown against Jaire Alexander. Brown’s double move — outside, inside — left him open along the sideline. Hurts struck Brown in stride, and the receiver weaved past the Packers’ secondary for a 67-yard score.

Brown’s 23.8 yards per reception (five catches, 119 yards) were his highest average since Week 16 of the 2022 regular season. Hurts managed to find Brown in crucial third-down situations in which he faced a heavy rush. On third-and-8 on Philadelphia’s fourth drive (Barkley’s first rushing touchdown), Hurts zipped the ball to Brown for a 20-yard conversion just before getting demolished by a defender. Hurts was 6-of-7 passing for 91 yards and his 18-yard touchdown to Barkley while facing the Packers blitz, according to TruMedia.

It was a promising sign for a system in which Hurts is handling more of the pre-snap protection calls and designations for which a receiver is “hot” against the blitz. Hurts was sacked twice. The second he seemed to draw himself just before halftime, which limited a promising two-minute drive to yielding only a 38-yard Jake Elliott field goal and a 19-17 deficit to the Packers at the break.

“I thought pass protection was pretty good today,” Jurgens said. “I thought we did a good job. We’ll watch film, see how it was. But it felt good out there. We’ve got some weapons on the outside. I think we really used them today and played really well.”

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Sloppiness stemmed to the Eagles defense, too.

Sirianni fired former defensive coordinator Sean Desai partly because his system surrendered the NFL’s second-most passing yards in 2023. The Eagles thought they’d improve the defense by hiring the system’s creator, Vic Fangio. But there were moments when it wasn’t clear there’d been any change at all. Jordan Love, who completed 17-of-34 passes for 260 yards, two touchdowns and an interception, exploited an apparent coverage bust by striking Jayden Reed for a 70-yard touchdown to seize their halftime lead. Safety C.J. Gardner-Johnson, signed in free agency to improve the back end, missed a tackle that could’ve saved the score.

Apparently, Gardner-Johnson caught some heat from the fan base by the time he returned to the locker room.

“All them fans that got some s— to say. Y’all get y’all a– out there and come tackle with us. Put that in the news,” Garnder-Johnson said. He turned to his left and spotted Eagles owner Jeffrey Lurie. “Tell them, Jeffrey. Every fan say they can make a tackle, we’re gonna invite everybody that say we suck at tackling, we’re gonna bring them out there with A.J. Brown and see if they can make a f—ing tackle. Everybody know that s— ain’t so easy.”

Lurie just laughed.

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Reed Blankenship, flushed in the face but not disagreeing, continued his post-game interview. Yes, they’d had some coverage breakdowns, Blankenship said. Yes, they hadn’t done just “what we did in practice.” But when the Packers had a shot to go up two scores in the third quarter, Blankenship hawked Love’s throw into the seam for a game-shifting interception. Blankenship said he’d seen Love make as if he wanted to throw to Reed along the sideline, but turned back to the middle of the field once Gardner-Johnson cut off that option.


Safety Reed Blankenship picked off Jordan Love’s throw into the seam for a game-shifting interception. (Pedro Vilela / Getty Images)

“So, it was one of those anticipation moments,” Blankenship said. “But I couldn’t have done it if he didn’t do his job on the back end.”

It’s difficult to immediately deduce where the breakdown occurred on Reed’s 70-yard score. The Eagles were playing dime, their six-defensive back package designated for passing scenarios such as that third-and-10. Second-round rookie Cooper DeJean and veteran Avonte Maddox appeared to be covering short zones in the slot. Gardner-Johnson was the deepest safety, but at the very least caught by surprise that Reed was running alone into the right hash.

“This is the hardest sport because it includes all 11 guys,” Gardner-Johnson said. “And if all 11 aren’t on the same page, stuff happens. That doesn’t mean you’re the (worst) player in the world. If that’s the case, the owner would’ve let you go. We’ve got to understand that this game right here, we’ve got to understand that as young guys, we’re just now getting good. We’re playing together and we’re understanding we can be dominant in every f—ing aspect of the game.”

Rookie cornerback Quinyon Mitchell revealed himself to be a reliable starter in his professional debut. Love tested the No. 22 pick on a deep ball early in the first quarter, but Mitchell swatted the ball from Christian Watson’s grip. Later, Mitchell extended himself laterally to deflect another Love pass near the sticks.

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Mitchell played entirely at outside corner, an interesting development considering Fangio’s devotion throughout training camp to platooning the rookie at nickel. Mitchell had played outside cornerback in base packages, then switched to nickel during preseason games. But Maddox started at nickel against the Packers. The arrangement may be untenable. Maddox was targeted on back-to-back plays by Love, first drawing a pass interference, then a touchdown on the following play.

The absence of Isaiah Rodgers may have played a role. He’d mainly been the outside cornerback throughout training camp when Mitchell played nickel. Rodgers was ruled inactive with a hand injury. When asked if Rodgers’ absence played into the decision, Sirianni said, “That’s still a competitive edge that we have that I’ll keep to myself.” Fielding Maddox at nickel also raises the question of whether the Eagles were confident Kelee Ringo could’ve fulfilled the game plan at cornerback in nickel packages.

Sirianni, who has further embraced his CEO-type role in 2024, has 10 days to reduce the sloppiness before the Eagles host the Atlanta Falcons on Monday, Sept. 16. The 43-year-old coach is now 4-0 in regular-season openers.

“Excited to continue to move on,” Sirianni said. “We’ll have some tough conversations about what went right and what went wrong, but pleased with these guys and we’ll get better from this game.”

(Top photo: Pedro Vilela / Getty Images)

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Video: The A.I. threat to audiobooks

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Video: The A.I. threat to audiobooks

new video loaded: The A.I. threat to audiobooks

Artificial intelligence has made pirated audiobooks faster to make and harder to detect. Our reporter Alexandra Alter tells us about the latest threat to the publishing industry.

By Alexandra Alter, Léo Hamelin and Laura Salaberry

May 20, 2026

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

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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.

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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.

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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?

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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.

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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?

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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.

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How Many of These Books and Their Screen Versions Do You Know?

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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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