Culture
Who is Pochettino? Is this a coup for the USMNT? Will it help them at World Cup?
The U.S. men’s national soccer team received a huge boost on Thursday morning when Mauricio Pochettino agreed to become their next head coach.
The Athletic revealed that Pochettino, who had been a top target for the opening, had come to a deal with U.S. Soccer, the sport’s governing body. Pochettino has never managed at international level, but he is a very well-respected name in the club game.
This is a big-name arrival ahead of a men’s World Cup that the U.S. will co-host with neighbours Canada and Mexico in 2026, staging the bulk of the games including all matches from the quarter-finals onwards. But just who is Pochettino? How much of a coup is this? What is his style of play?
Here, The Athletic’s Jack Pitt-Brooke answers everything you need to know about the 52-year-old Argentinian.
So, who exactly is Mauricio Pochettino?
Mauricio Pochettino is considered one of the best managers in European football.
As a player, he was a very competitive centre-back, leaving his native Argentina at age 22 to play for Barcelona-based Espanyol in Spain, before brief spells in France with Paris Saint-Germain (PSG) and Bordeaux, then returning to Espanyol to finish his playing career. He played for Argentina at the 2002 World Cup, and won 20 caps overall.
Pochettino, left, playing for Espanyol (Luis Bagu/Getty Images)
Pochettino also started his coaching career at Espanyol, in 2009, earning a reputation for playing brave high-pressing football with young players, turning the fortunes of the team around and saving them from relegation to Spain’s second division. His next job was at Southampton in England’s Premier League in 2013, where he took the team to new heights with his energetic style of play. Then he stepped up to Tottenham Hotspur the following year, where he oversaw their greatest sustained run of the modern era, finishing third, second and third in the Premier League in successive seasons, as well as getting to the final of the 2018-19 Champions League.
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Since then, Pochettino has managed PSG, winning a French Cup and a Ligue 1 title, and then spent last season as Chelsea head coach, where he guided them to sixth place in the Premier League, enough to qualify for European football in the coming campaign, and into the Carabao Cup final.
How much of a coup is this for the USMNT?
It is huge to land one of the best coaches from the club game to manage the men’s national team.
The closest comparison might be Jurgen Klinsmann, the former Germany striker who coached the USMNT from 2011 to 2016, but Pochettino comes to the job with far more of a track record in European club football management than he did. Klinsmann had only had one disappointing season at Bayern Munich (2008-09) before he got the United States job, as well as taking hosts Germany to the semi-finals of the 2006 World Cup.
Pochettino, by contrast, has been one of the most impressive coaches in the European club game for the past 15 years.
What he did at Tottenham remains one of the best-sustained spells of management in recent years, even if it did not end up with them winning any trophies.
Why would Pochettino take an international job?
Pochettino has always been a romantic with a love for the game’s history.
He knows the World Cup is the pinnacle of the game. He remembers as a boy watching Argentina win the 1978 (as hosts) and 1986 World Cups, the latter of which made Diego Maradona his hero for life. He is hugely proud of playing in the 2002 World Cup, even if he is remembered by some for giving away the deciding penalty in a 1-0 group-stage loss against England — he still has a photo of that dubious ‘foul’ he committed on Michael Owen, signed by the England striker, up on a wall at home.
Pochettino ‘fouling’ Owen at the 2002 World Cup (Alex Livesey/Getty Images)
He told me in an interview in 2022 how much the World Cup means to him. “You don’t think about anything, you don’t think about money, you think only to deliver your best, and to make the people happy,” Pochettino said. “Because you know very well your country is behind you. The feeling is completely different from other competitions. That is why the players feel so different.”
Pochettino told me he would “of course” want to manage in a World Cup one day, and not necessarily with Argentina, saying: “You never know what happens. I am open to everything.”
What about club football?
Since being sacked by Tottenham in November 2019 after they began that season poorly, Pochettino has worked for two of the highest profile and wealthiest clubs in Europe, PSG and Chelsea.
In Paris, he got to manage Neymar, Lionel Messi and Kylian Mbappe, one of the highest-quality front lines ever assembled at club level. Ultimately, he performed in line with most PSG coaches, both before and after him, and was released at the end of the 2021-22 season.
He was brought in at Chelsea last summer to impose a new style of football onto their oversized squad and after a tough start, he got there in the end, setting them up for a great finish to the season (they won their final five matches, scoring 14 goals) and winning over fans who had doubted him at the beginning because of his connections to London rivals Tottenham. In the end, he left Chelsea in June with his reputation improved.
But both of these were difficult experiences at points, with plenty of internal politics to manage. European club football is in a strange place right now, with not many clubs offering their managers/head coaches the chance to build something.
That would be part of the attraction of taking a very different challenge with the USMNT.
What kind of football does he play?
Throughout his managerial career, Pochettino has tried to get his teams playing a brave, aggressive, high-pressing style.
It is a positional game, focused on maintaining a good structure in and out of possession, so the players are in the right places to win the ball back quickly — ideally within three seconds — whenever his team lose it. He wants his sides to dominate the ball and defend high up the pitch.
Pochettino’s Tottenham mastered this style of football, taking the north London club to new heights.
At their best, a Pochettino team are physically relentless, powerful and dominant, not giving the opposition any room to breathe. With PSG, it was not always possible to play exactly like this because of the big-name personnel up front who did not always want to press from the front. But in the second half of last season, Chelsea started to look like a Pochettino team, and the wins followed.
Are those methods suited to international football?
Fitness work is hugely important to Pochettino and his coaching staff but the nature of the international game is that coaches do not get to work with their players for that long. It is harder for them to improve their players as individuals, something that Pochettino has always been big on, during those short periods together before they return to their clubs.
Pochettino with his players at PSG (Franck Fife/AFP via Getty Images)
One thing that has always been important to him has been bringing through young players, right from the time he was starting at Espanyol and then Southampton.
When he was discussed not so long ago as a potential England manager, the point was made how many of their current squad owe their career to their development under Pochettino: Luke Shaw (Southampton), Harry Kane, Kyle Walker, Kieran Trippier (Tottenham), Conor Gallagher and Cole Palmer (Chelsea). He will hope to develop a similar generation of youngsters now he has the USMNT job.
How will he deal with the scrutiny that comes with this role?
Pochettino is used to the media spotlight, especially after those spells at PSG and Chelsea. But international football is different. There will be less day-to-day attention than his days at those clubs, certainly, but there will be times when Pochettino has the eyes of hundreds of millions of Americans on him. The U.S. public are unlikely to be forgiving if they feel the team are not heading in the right direction as that 2026 World Cup looms larger.
But that is also part of the attraction, given what a huge event it will be in two years’ time. Coaching that team in their home World Cup, in front of 70,000 people for their opening group-stage match at SoFi Stadium in Los Angeles on June 12, 2026 will be the equivalent of standing in front of the eyes of the whole world.
Does it matter he’s not an American?
The team had non-American coaches before, and not just Klinsmann. There was Bora Milutinovic, from Serbia, in the early 1990s, the last time the U.S. staged the World Cup. Men from Poland, Greece, the UK and more have also had the job. There is no reason that nationality should be a barrier to Pochettino in the role. He has worked for three different Premier League clubs and while he initially had an interpreter at Southampton, his English is now certainly good enough to work in the States.
The most important thing will be to demonstrate a commitment to U.S. soccer, and a deep knowledge of all the players at his disposal, whether they play in MLS, Europe or elsewhere. This will mean lots of hard work, and air miles, getting to know them all.
How much does this improve USMNT’s chances at the 2026 World Cup?
It is hard to know how proven club managers will fare in the international game. They are effectively two different formats of the same sport.
Antonio Conte, a serial title winner at club level, improved Italy but could only get them to the quarter-finals of Euro 2016. Luis Enrique had a great European Championship with Spain in 2021, reaching the semis, but they were knocked out of the following year’s World Cup in the round of 16 by Morocco. Hansi Flick won the treble with Bayern in 2020 but could not even get Germany out of the group in Qatar.
Making predictions about international tournaments is almost impossible, given how fine the margins are between success and failure at that level. But we can say Pochettino will bring fresh ideas, energy and proven methods to the U.S. job, as well as a sense of confidence and optimism the whole country can feed on.
(Top photo: Getty Images; design: Eamonn Dalton)
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.
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.
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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