Culture
Seven goals, several outbursts and one odd artwork: Mourinho's Fenerbahce debut
It’s the day before his first competitive game as Fenerbahce manager and Jose Mourinho has been accosted.
He is heading away from his pre-match press conference for the Champions League second-round qualifier against Lugano of Switzerland when he’s stopped by a man named Kai, a technician with the local media. Kai presents him with a large piece of art, depicting Mourinho with his two children. From the look of his hair in the picture, it’s based on an image that is probably at least 15 years old.
Mourinho looks slightly baffled at first, joking that he thought Kai, with his big mass of curly hair “was (Marc) Cucurella”. But he does actually seem relatively touched (well: half touched, half amused) and gets someone else to take a picture of him and Kai holding the art.
“He’s the Special One!” says Kai afterwards, and he genuinely did say that. “Usually you can’t get near someone like him, so I just wanted to show him he’s appreciated and give him some of my art.”
The Athletic regrets to inform you that Mourinho didn’t actually take the piece with him. There’s a brief conversation about framing it, but Kai goes back to his work with the art under his arm. I hope he gets it to him somehow.
Jose Mourinho and Kai, with his piece of artwork (Nick Miller/The Athletic)
If nothing else, this illustrates that Mourinho still engenders a peculiar brand of fascination. You can say you don’t if you like, but you did click on this article. You must be keen to find out something about him, even if you think you’re rubbernecking at the wreckage of a once great career. He is still compelling, sometimes in a grim way, sometimes through flashes of the old Jose, the occasional flicker of a fading sun.
The classic perception of Turkish football is that it is a pseudo retirement home, a place for players who aren’t quite up to the top leagues anymore. It is a little unfair, but there is some truth to it.
As such, it is easy to think that Mourinho accepting the Fenerbahce role — five months after Roma sacked him — is an admission that he just can’t hack the big jobs anymore. At 61, with a hall-of-fame CV in his past, he has retreated to a relative footballing backwater for the same reason that all those players have.
The other way of looking at it is that it’s incredible he hasn’t managed in Turkey before. This is a footballing country that thrives on chaos and conflict, which fosters paranoia and a sense of injustice that isn’t always pretty to watch but is viscerally thrilling.
Is this part of his decline, or is it where he’s always meant to be?
GO DEEPER
A presidential election, lack of offers but plenty of passion – why Mourinho ended up at Fenerbahce
This is technically the earliest point in a season, by the calendar at least, that Mourinho has taken charge of a competitive game, though he has managed at a similar stage before: his Tottenham Hotspur side played Bulgaria’s Lokomotiv Plovdiv in the Europa League second qualifying round in 2020-21.
Still, rather than feeling self-conscious about a man of his reputation participating at such an early stage, he spun it as a positive. “I don’t like friendlies,” he said the day before the game. “We train to play matches. And tomorrow we have a match.”
Lugano’s 6,300-capacity stadium was deemed unacceptable by UEFA for such an occasion, so the game is held 135 miles away in Thun, just south of Bern. Thun is a delightful, quiet lakeside town. It is the sort of place where a bus driver can stop for a chat with a friend without anyone getting annoyed. Try that sort of thing in London, Rome, Milan or Madrid and see how far it gets you.
The Storkhorn Arena, the venue for this game and home of FC Thun, who play in the Swiss second tier, is a curious place. New, out of town, theoretically picturesque given that it is surrounded by cloud-tipped mountains, but you have to walk around the shopping centre that is part of the same complex to actually see those mountains.
Despite this technically being the home game of the two-legged tie for Lugano, their supporters are massively outnumbered. Two and a half hours before kick-off, a few hundred Fenerbahce fans are already waiting for their team to arrive (although they’re ultimately disappointed: Jose et al are smuggled in via an underground entrance). At one point, a small group wearing the shirts of Galatasaray, Fenerbahce’s fierce rivals, turn up and are initially booed, but then briefly applauded.
Fenerbahce fans gather at Thun’s Storkhorn Arena (Nick Miller/The Athletic)
This early arrival isn’t necessarily an expression of pro-Mourinho enthusiasm: this is just what Fenerbahce fans specifically, and Turkish football fans generally, are like. Still, there is a sense of incredulity that Mourinho is at their club: he is their first manager with a Champions League/European Cup title on his CV since Guus Hiddink in 1990. “It’s an amazing thing for Fenerbahce,” says Okan, one of the fans waiting outside, before offering a warning. “But if he doesn’t win the title, he’ll just end up like all the others.”
Indeed. Mourinho has a tough act to follow. Last season, Fenerbahce won 99 points, the highest total in their history, and it would have been the highest in Turkish Super Lig history had Galatasaray not finished on 102, pipping them to the title. Coach Ismail Kartal might have reasonably expected to get a second crack, but no dice: a week after the season ended, Kartal was shoved out of the back door as Mourinho was welcomed through the front.
Mourinho is here partly as a political pawn, a Hail Mary attempt by club president Ali Koc to finally win a league title. Fenerbahce haven’t been Turkish champions since 2014, the longest dry spell in their history. Koc, from one of the wealthiest families in Turkey, was seen as the man to bring glory back to the Asian side of Istanbul, but his failure to deliver a title could well have seen him voted out at their presidential elections this summer.
Particularly when it was made known that his opponent, former club president Aziz Yildirim, had lined Mourinho up as coach if he won the election. But then, hey presto: Koc, with the help of Hull City owner Acun Ilicali, who is also on the Fenerbahce board, pulled a rabbit from a hat and it emerged that, plot twist, it was he who was talking to Mourinho. A week after Mourinho was unveiled in front of 30,000 fans at Fenerbahce’s Sukru Saracoglu Stadium, Koc was re-elected with 61 per cent of the vote.
When he emerged from the tunnel before the game, Mourinho headed straight to embrace his opposite number, Mattia Croci-Torti.
The Lugano manager is one of Swiss football’s up-and-coming coaches and a lifelong Inter Milan fan, so facing the man who won the treble with them in 2010 carried extra significance. “It will be a source of personal pride to face a coach like him,” Croci-Torti, 42, said before the game, “because it may never happen again.”
Mourinho had some advice for his opposite number Mattia Croci-Torti, the Lugano head coach (Piero Cruciatti/Anadolu via Getty Images)
Those pre-match cordialities were a distant memory when, just before half-time, Fenerbahce were awarded a penalty, which Croci-Torti protested with a little too much vigour for Mourinho’s liking. He stalks up the touchline to remonstrate with his opponent, in the manner of a wise old head telling the hot-headed young thing how one should behave.
“He was like myself when I was younger,” Mourinho says after the game, with a slightly wistful grin. “Speaks too much. Complains too much. It’s the emotion of youth. He was lucky because when I did it, always a red card.”
Before that penalty, Mourinho’s debut hadn’t been going well. Fenerbahce are behind after just four minutes, with some sharp work by Ayman El Wafi putting Lugano in front. On the touchline, Mourinho’s frustration grows — 12 minutes in, his hands are on his hips in the manner of a disappointed mother after Jayden Oosterwolde is dispossessed carelessly; his arms are outstretched after the ball is given away in midfield; he shoots an exasperated glance back to his bench when a corner doesn’t beat the first man.
But it’s all fairly low-energy irritation, more the grumblings of an old man tired of life than the sort of raging against the world we remember from Mourinho of days gone by. Until, that is, Dusan Tadic is fouled inside the box on the stroke of half-time for that penalty. Edin Dzeko converts, but it almost feels like it was Mourinho remonstrating with young Croci-Torti that has lit the spark, rather than simply the goal.
Everything is amped up after the break. Mourinho is much more animated and, after some brilliant footwork by Tadic and a perfectly timed run and finish by Dzeko, they’re ahead. For the rest of the game, they’re much more fluent — more than you might expect from a Jose Mourinho side. There’s a brief scare when Lugano equalise, but the 38-year-old Dzeko completes his hat-trick and substitute Ferdi Kadioglu whips one into the bottom corner. They ultimately win 4-3.
“It was a game with seven goals,” Mourinho said after the game. “People like goals,” he added, and there’s a delicious pause where you think he’s going to say, ‘I don’t care for them quite so much myself…’, but he doesn’t. This is, after all, a man who once described an Arsenal vs Tottenham game that finished 5-4 as a “hockey score”.
Mourinho congratulates Ferdi Kadioglu for scoring Fenerbahce’s fourth goal (Piero Cruciatti/Anadolu via Getty Images)
Mourinho doesn’t quite celebrate these goals with the knee slides or coat-flapping dashes of old, but there was a primal roar, particularly from the last two. There are more glimpses of classic Mourinho in his post-match comments, including a lengthy gripe about the artificial pitch — “Honestly, I don’t understand why UEFA allow Champions League games on a plastic pitch” — about Lugano not returning the ball to Fenerbahce following an injury and, of course, about the referee. Mourinho changes, but at his core, he’s still the same old Jose.
When you think about Mourinho managing in a country that is ranked ninth in UEFA’s league coefficients, it is difficult not to remember the time that he sniffily put down Manuel Pellegrini, saying that if Real Madrid were to fire him he would never have to stoop so low as to manage Malaga, as Pellegrini had.
From that perspective, you could be forgiven for revelling in his perceived fall. You could also be forgiven for wondering why he still bothers. He could happily sit back and enjoy retirement, enjoy his money, enjoy life.
Mourinho in a typically forthright mood at the post-match press conference (Dursun Aydemir/Anadolu via Getty Images)
Fenerbahce offers the things that Mourinho appears to need. It’s a colossal club in a city and a country that thrives on all the things he thrives on. It’s a club that uses conflict as fuel, as does he. Watching him during this game — stalking up and down the touchline, yelling at his players, picking a fight with a manager 20 years his junior who is taking charge of his first Champions League game — you realise why he hasn’t given it up. What would he be without it?
Mourinho and Fenerbahce and Turkish football might be the perfect combination. Or they could be a cocktail that blows up with more force than any of them can cope with. It really could go either way.
Mourinho tends to thrive when his club needs him more than he needs them, or at least when he can realistically perceive that to be true. And Fenerbahce need him.
This game won’t be the start of Mourinho’s most glorious era — his great achievements are almost certainly in the past — but it might be the start of Mourinho’s most ‘Mourinho’ era. You get the feeling this is perfect for him.
It’s going to be worth watching, whatever happens.
(Top photo: Piero Cruciatti/Anadolu via 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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