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.
GO DEEPER
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.”
GO DEEPER
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.
GO DEEPER
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
Video: The A.I. threat to audiobooks
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May 20, 2026
Culture
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.
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.
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?
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.
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?
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.
Culture
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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