Culture
Why deep runs are “probably the most important thing in football”
When watching a game of football, we only truly consume a snippet of the action.
We are naturally drawn to the fun stuff occurring on the ball, but zoom out a little and there is beauty laid out in the carefully choreographed off-ball movements across the pitch.
You might not notice a lot of runs. Some of them will not even get picked up by the television coverage, but when a player receives the ball in space, you can be confident that it was their team-mates’ movements elsewhere that dragged the opposition out of shape.
Runs beyond the defensive line are crucial to a team’s attacking potency, particularly in a Premier League that is increasingly physically demanding.
“Deep runs are probably the most important thing in football,” said Liverpool manager Arne Slot on Amazon Prime after their 3-1 victory over Leicester City.
“You don’t even always have to play to a player who makes the deep run — but then you can maybe create a bigger one-v-one situation for your winger, so the more deep runs you make, the more chance you have of winning a game.”
The Athletic identified a similar trend in Slot’s side earlier this season, with the underlapping runs made beyond the opposition defensive line allowing Liverpool’s wingers to come inside to cross — as shown by Mohamed Salah’s assist for Curtis Jones against Chelsea.
Runs beyond the ball remain a key theme of Liverpool’s campaign under Slot.
As well as the obvious candidates of forwards Salah, Cody Gakpo and Luis Diaz, Slot’s midfielders have shown a notable propensity to break beyond the opposition last line with those runs from deep.
For example, in their recent Premier League game against Manchester United, Jones is desperately trying to catch the attention of Ibrahima Konate as he identifies a gap in the defensive line.
While the ball does not reach Jones, Harry Maguire’s attention is drawn to the 23-year-old as the ball continues to be circulated.
Five seconds later, that space is exploited with another deep run from fellow midfielder Alexis Mac Allister, with Salah’s clipped ball struck first time by the Argentina international.
Using SkillCorner’s Game Intelligence model — which extracts contextual metrics from broadcast tracking data — we can measure the number of off-ball runs made by each team when they are in possession, focusing on runs made in behind.
For those unsure, this type of run simply logs when a player is attacking space behind the last defensive line — like the example below. Crucially, the player does not have to receive the ball for the run to be logged.
When looking across all Premier League teams, Liverpool’s 4.1 runs in behind per 30 minutes in possession — adjusted to control for each side’s share of the ball — is the third-most this season, with Crystal Palace topping the charts, edging ahead of Aston Villa.
There is no right or wrong method here, but the graphic above highlights the stylistic approach taken by each team in attack.
For example, Arsenal and Manchester City are comparably low by this measure, which reflects their desire for a more patient, possession-based build-up that looks to squeeze the opposition back — gaining territorial dominance, which often leaves less space behind the opposition defensive line.
As for Southampton, well, let’s not compound their misery.
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Measuring off-ball runs by Premier League wingers
For league-leading Palace, the runs of Jean-Philippe Mateta are crucial to Oliver Glasner’s attacking approach and they can have a dual benefit for the team.

The first is the typical threat of a striker receiving the ball beyond the opposition last line, but the second is the space that such a run can provide for others to exploit between the lines — namely Eberechi Eze.
For example, in their most recent Premier League game against Chelsea, Ismaila Sarr finds right wing-back Daniel Munoz in space on the right flank, with Mateta occupying Chelsea’s centre-backs with a run in behind, towards the front post (see frame 2).
That run makes space for Eze to drift into, with Munoz’s cutback allowing Eze to shoot first time — albeit missing the target.
There was a near-identical pattern 20 minutes later. Sarr’s ball finds an onrushing Munoz, with Mateta’s run in behind to the near post allowing Eze to hold back and receive the cutback — which is blocked on this occasion.
Conversely, Mateta’s improved link-up play has allowed Sarr to thrive as a No 10 by making runs from deeper.
This is shown in his Premier League goal against Aston Villa in November, with Mateta dropping to receive the ball in his own half before releasing Sarr, who has made the run in behind.
It is a part of his game that Sarr has been actively working on in training since his summer arrival.
“We showed him the space where he can show his strength,” Glasner said in his press conference last month.
“We wanted to have pace, a player who can make runs in behind. (To find) the perfect profile we are looking for, we can’t spend (a lot of) money, so we have to find players with most of the profile, then it’s our job to teach them where they can show their skills and talent.”
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If Eze has his confidence back, Palace have a true triple threat up front
At Aston Villa, the midfield runs of John McGinn and Morgan Rogers — alongside the wide runs from left full-back Lucas Digne — are key to Unai Emery’s system. However, Ollie Watkins is one of the leading candidates across the Premier League for runs made in behind.
While he is capable of dropping deep to receive, Watkins has developed his game in recent seasons, staying on the last line between the width of the six-yard box and conserving his energy — having pulled into wider areas in seasons gone by.
He picks his moments carefully, but the muscle memory of his channel runs in behind when Tyrone Mings has the ball continues to be effective — as it was against Leicester last weekend.
It was a similar run made for his Premier League goal against Crystal Palace in the aforementioned fixture in November. Before McGinn received the ball between the lines, Watkins was already looking for the space he could exploit in behind (see frame 1).
A perfectly weighted pass and a calm finish duly followed.
When breaking down Watkins’ run types by category, more than two-thirds of his total tally are runs in behind or ahead of the ball — with a notably small share coming short or pulling into the half-space to receive.
When a team-mate gets the ball in space, you can be sure Watkins will be on his bike heading towards goal.
Crucially, this aligns with Emery’s method of attack to pierce through the opposition’s back line when they can. No Premier League team has logged more than Villa’s 53 through balls this season, which shows that they often take the opportunity to play the pass when those runs are made.
Breaking down our SkillCorner dataset by player, Watkins is out in front alongside Leicester’s Jamie Vardy in the highest volume of runs in behind as a share of their total tally, in a list made up largely of No 9s who spearhead their team’s respective attack.
Below Watkins on the list? The previously discussed Mateta, of course.
Like Mateta, the runs made by Watkins and Jhon Duran don’t always need to be met with a pass from a team-mate. However, these movements are still vital for pushing the defence back and creating space for Villa’s No 10s to exploit.
This was particularly notable in Villa’s recent victory over Manchester City — as The Athletic has previously analysed — with Rogers and Youri Tielemans benefiting from Duran’s relentless forward running.
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How Tielemans and Rogers’ ability between the lines helped Villa beat City
While our post-match debrief will largely focus on the events that occurred on the ball, the key to unlocking a defence might often occur elsewhere on the pitch.
Whether you’re Nottingham Forest or Forrest Gump, running matters — and now we can measure its impact in context.
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
Culture
Can You Identify Where the Winter Scenes in These Novels Took Place?
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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