Culture
Why European soccer headed to the U.S. for preseason – and what comes next?
Through the torrential downpour and thunder rolling in the sky above MetLife Stadium, 82,154 fans bore the brunt of a mid-summer storm to watch Barcelona beat Real Madrid 2-1 in a thrilling preseason friendly between two rivals that has become somewhat of a tradition in the United States.
It did not matter that some of the Spanish clubs’ biggest stars were either still on vacation, resting from the recent European Championship and Copa America, or absent on Olympic Games duty for their countries in France. This was still El Clasico and the crowd reveled in watching young stars including Barcelona’s Pau Victor and Nico Paz and veterans such as Real Madrid’s Ballon d’Or winner Luka Modric battle it out on the muddy pitch across the Hudson River from Manhattan for 90 minutes of pure entertainment.
Spectators sang along to the club’s chants and stadium staff set off fireworks for every goal scored, even those that were later ruled out for offside. It was an impressive reception for a match that, as far as official record-keeping goes, meant close to nothing. But that match last weekend, and dozens of others like it throughout the United States, have come to mean a whole lot to the international soccer ecosystem.
“This is preseason and it’s totally different than the normal Clasico,” Barcelona head coach Hansi Flick told reporters afterwards. “You can see that a lot of players are missing (from) both teams, but at the end (of the day) it’s also really good to have all these players here. The young players… it’s fantastic to have them here.”
Considering the hype seen in New Jersey that night, players’ absences did little to deter fans from flocking to a venue that is the home to New York’s two NFL teams — the Giants and Jets. Enthusiasm for the match was not impacted, even when it was halted after just 12 minutes of play because of severe weather, not resuming for an hour.
Fans took shelter at MetLife Stadium when the Barca-Real match was suspended (Charly Triballeau/AFP via Getty Images)
Flick was addressing reporters inside a glass-enclosed conference room, with fans gathered around and peering through those translucent walls at the stadium which will host the 2026 men’s World Cup final. The supporters’ cheers muffled journalists’ questions, with security repeatedly asking them to quiet down. Fans lingered in and around the stadium long after the game ended.
This was just one of the many high-profile soccer friendlies that took place across the U.S. this summer, with European football clubs jet-setting coast to coast to compete on pitches inside MLS, NFL, college football and even MLB stadiums. Teams from the English Premier League, Spain’s La Liga, Serie A in Italy and the German Bundesliga (plus Wrexham of the English Football League) held glitzy press tours and community events across the country. The painstaking preparation for Wolverhampton Wanderers’ three-match tour — estimated to have cost £1,050,000 ($1,344,000) in total — was detailed by The Athletic.
A week before Barca-Real, Manchester City and AC Milan played inside Yankee Stadium before a crowd of 46,122 fans. The Italian side won 3-2 with U.S. men’s national team captain Christian Pulisic coming on in the 80th minute. Pulisic has understandably been the face of Milan’s own tour, while City boasted players including Norwegian striker Erling Haaland and England international Jack Grealish at fan events around New York City in the lead-up to matchday.
Erling Haaland runs out at Yankee Stadium last month (Stephen Nadler/ISI Photos/Getty Images)
This was a big footballing spectacle, yet the business relationships between the professional clubs and baseball’s Yankees run deep.
In 2013, Manchester City and the Yankees announced plans to establish an MLS expansion side, NYCFC. City Football Group owns both clubs, as well as a portfolio of others around the world.
As for Milan, the team also has deep ties to American businesses. The club is owned by New York-based RedBird Capital Partners and, in 2022, the Yankees purchased a minority stake. That same year, the two teams announced plans to begin selling AC Milan products inside Yankee Stadium. Milan’s CEO Giorgio Furlani said to reporters in New Jersey last week: “I would confidently say we are the most American club of Italian clubs, and we’re very happy to be here.”
Barcelona and AC Milan played in Baltimore, Maryland, on August 6 (Samuel Corum/AFP via Getty Images)
Wrexham, a Welsh club from the English third tier made globally famous by a documentary series about them and co-owned by American actor Rob McElhenney and Ryan Reynolds, the Canadian star of the Deadpool movie franchise, have played Chelsea, another Premier League club in American hands, in the States in successive summers. When the sides met in July 2023 at Chapel Hill in North Carolina, 50,596 were in attendance. Twelve months on, for a 2-2 draw at Levi’s Stadium in Santa Clara, California, the announced attendance was 32,724.
How many times can these teams keep going back to the U.S. well?
American ownership in international football has become a growing trend, with a prominent example in Premier League side Arsenal’s owners, the Kroenke family, through their Kroenke Sports & Entertainment company (KSE). As well as Arsenal, the KSE sports conglomerate includes the NFL’s Los Angeles Rams. The Rams’ SoFi Stadium has also become a home of sorts for Arsenal, having played there in the past two preseasons. Arsenal Women is also going on a U.S. preseason tour this month, albeit on the east coast, to play NWSL side Washington Spirit and Women’s Super League rivals Chelsea.
The U.S. is a key market for Arsenal and there are more synergies between the twin jewels in the Kroenkes’ multi-sport crown.
The two sides held a ‘Football meets Football’ community event at the Rams’ training complex, with Rams head coach Sean McVay and Arsenal manager Mikel Arteta both taking part, as well as the two team captains, Martin Odegaard and Cooper Kupp. KSE figurehead Stan Kroenke and son Josh, an Arsenal director, were also present. McVay, only 38, and Arteta, still relatively new to Premier League management at 42, have a good relationship and speak fairly often.
(Left to right) Josh Kroenke, Kupp, Arteta, McVay, Odegaard and Stan Kroenke on July 26 (Stuart MacFarlane/Arsenal FC via Getty Images)
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The 62,486 crowd for Arsenal’s 2-1 win over Manchester United at 70,000-capacity SoFi two weeks ago was, however, a little down on what might have expected and Arteta commented afterwards on the small dimensions of the pitch, which had only recently been laid in the NFL arena and will be replaced by the time the 2026 World Cup, which the U.S. will co-host with Canada and Mexico, comes to town. The cheapest tickets were more than $100 (£78) each, with a 10 percent emissions tax on top of that.
James T Butts, mayor of Inglewood, the district of Los Angeles where the stadium is located, wants soccer to keep coming back to LA. “I may be biased but I think this is the pre-eminent stadium in the world right now,” he told reporters. “I’ve discovered that soccer fans are more rabid than NFL fans, and so we love every time there is a soccer game. It adds to the ambience of the city. Adds to the viability of the project. We love it.”
The ability to watch two top-tier European clubs play in your local stadium remains a rare experience for Americans.
The University of South Carolina hosted Liverpool’s 3-0 win against Manchester United last weekend, with a recorded attendance of 77,559. In Philadelphia a few days earlier, Liverpool beat Arsenal 2-1 in front of 69,879 fans at Lincoln Financial Field, home of the NFL’s Philadelphia Eagles — the largest crowd for a soccer match at the venue.
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Liverpool also has U.S.-based owners in Fenway Sports Group and chose to base themselves in Pittsburgh (where they beat Spain’s Real Betis 1-0 before a 42,679 crowd), Philadelphia and Columbia, South Carolina this summer as they returned to American soil after a five-year absence. “It’s an incredibly important market, and one that we still think has tremendous opportunity for growth,” Liverpool CEO Billy Hogan told The Athletic last month.
Manchester United and Liverpool walk out in Columbia, South Carolina (Grant Halverson/Getty Images)
Beginning next year, clubs from Europe and elsewhere will be coming to the U.S. in the summer for games far more important than a few preseason friendlies.
“For the fans, it becomes even more special because they see the two big teams, two big clubs play against each other,” says Sweden legend Zlatan Ibrahimovic, who works as an adviser for AC Milan’s U.S. ownership, having played in the States for LA Galaxy of MLS. “Especially over here in the U.S. — because normally this (such a fixture) would be a Champions League game.”
But as the market continues to grow, with the first edition of the revamped and greatly expanded Club World Cup to be played in the United States next summer, a Champions League-level match happening here does not appear that far-fetched.
In May, an attorney representing soccer’s world governing body FIFA said in federal court that a rule change allowing domestic league matches to be played abroad could come “before the end of the year”. This was declared during an in-court status conference for an ongoing antitrust lawsuit between New York-based promoter Relevent Sports and U.S. Soccer, the game’s national federation.
At the time, FIFA declined to elaborate on the specifics of what its attorney was referencing. Just two weeks later, however, at its annual congress in Thailand, FIFA approved a working group that was tasked with considering rule changes for “authorizing interclub football matches or competitions”, and the criteria to be applied for signing off on such competitions.
That lawsuit filed by Relevent stems back to summer 2018 when it attempted to level up from U.S. preseason friendlies.
The promoter announced plans to host a regular-season La Liga match between Barcelona and Girona in Miami, Florida. But Barcelona later withdrew from this commitment when FIFA announced a policy barring domestic leagues from playing regular-season games outside of a club’s home territory.
A few months later, Relevent attempted to host two Ecuadorian clubs for an official league match on American soil. U.S. Soccer denied its sanction, citing FIFA’s policy. Relevent then sued FIFA and U.S. Soccer on antitrust grounds – and while FIFA is no longer a defendant in the suit, Relevent and U.S. Soccer are slated for a settlement conference in this matter next month.
While the antitrust lawsuit crawled through the American legal system, reaching the Supreme Court last year, the business of international friendlies in the States only grew larger. But a preseason friendly is not the same as an official match that truly matters, as many coaches referenced in their preseason tours this summer.
That becomes trickier to imagine, though, when considering the already-congested football match calendar. Any trip over from Europe or South America would have to be an isolated occurrence, similar to how the NFL hosts only a handful of international matches each season.
But those in the game see the existing crowded calendar as an inevitable part of football’s growth. Manchester City manager Pep Guardiola said as much when asked about players struggling to play at their peak in every match because of the schedule.
“The clubs have to travel to make our brand (known) around the world,” Guardiola said from the Yankees’ press conference room. This may be the new norm, but it didn’t happen overnight. “It happened for five, six, seven years,” Guardiola said. “It is what it is, and we have to adapt.”
It seems inevitable that, pretty soon, they will have to adapt yet again.
(Top photo: Charly Triballeau/AFP via Getty Images)
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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