MANCHESTER, England — Jesse Lingard was streaking away, the ball at his feet, on the right wing. Their legs weary and their hopes dwindling, Arsenal’s defenders heaved and hauled to keep up with him, as if they were running into a stiff wind. And on the other side of the field, Cristiano Ronaldo started to sprint.
It was a true sprint, too, a track sprint, a coached sprint: starting in a low crouch, his back straightening as he reached full tilt, head held high, arms pumping. The clock had just ticked past 90 minutes, but there seemed to be a magnet drawing Ronaldo to Arsenal’s penalty area, some elemental force. He had scented a chance from 60 yards, and he just could not resist the aroma.
Ronaldo arrived in the penalty area roughly at the same time as Lingard, and the ball, but the chance never came. He came to a sudden halt, stood for a moment, and then doubled over, gulping down the air. It was fitting, really, a breathless end to a breathless game, the sort of evening that leaves the fans as drained as the players.
Manchester United had won, 3-2, but the richness was in the detail: Arsenal’s opening goal, scored by Emile Smith-Rowe as David de Gea, the United goalkeeper, lay prone on the goal line, nursing an injury he had sustained by running into his own player; the quick thrust and parry early in the second half, as United took the lead and then offered Arsenal a reprieve almost immediately; the confected, compulsory drama of the referee, Martin Atkinson, walking achingly slowly to the monitor to award the penalty kick that won the game.
As entertainment, it was difficult to beat. It was compelling and enthralling and pulsating, a sort of Platonic ideal of a Premier League game, all of the characteristics that English soccer prides itself on, that it sells to the world at a premium, distilled into 90 minutes. It was, by that measure, a good game of soccer.
But by another, it was not. Michael Carrick had been in charge of United that night. His successor, Ralf Rangnick, was sitting in the directors’ box. At the end of the game, Carrick told his players that he would not only be stepping down but leaving the club altogether, off in search of fulfillment elsewhere.
United played like a team that had internalized that uncertainty. It had the air of a side between managers, one only just beginning to emerge from a month of confidence-sapping crisis. There was no shortage of individual talent, but there was a lack of organization, an undeniable jaggedness to their play. Martin Odegaard appeared wholly unmarked to score Arsenal’s equalizer. Passes went astray. Attacks bubbled and then fizzled out. It was obvious United wanted to win. It was not always so obvious that it knew how.
Arsenal might have known precisely who its manager was, but it was no better. Mikel Arteta has crafted a young, game team, but with that youth and that exuberance comes a naïveté. Having taken the lead, it ceded the initiative. It squandered possession. It folded as United attacked. It ran out of ideas. Its most experienced player, Pierre-Emerick Aubameyang, was irrelevant throughout.
As a technical exercise, then, the match was hardly conclusive proof of the Premier League’s old boast that it is the best domestic competition in the world. It was mainly striking as an illustration of how far both United and Arsenal have fallen: watching on, Rangnick must have seen all of that haphazard defending, uncertain pressing, that rushed passing and thought that perhaps the Premier League was not so different from the Bundesliga after all.
For everyone else, it was difficult to watch either team without being struck by how far both have fallen, to wonder quite what Alex Ferguson or Arsène Wenger would have thought if you had told them that the roles of Roy Keane and Patrick Vieira would one night be taken by Scott McTominay and Mohamed Elneny.
Those two definitions of good are not always in tension — the best games, of course, manage to be both compulsive viewing and technically excellent — but, in truth, those that clear that bar are rare beasts. And that presents us, as fans, with a choice, one that strikes at the heart of what it is about sports that makes us want to watch, what we want a sport to be.
Annibale Frossi, the former Inter Milan manager, once declared that the “perfect result to a game of football is 0-0,” because that represents “a balance between the attacks and defenses on the field.” There is truth in that, but it does not sound as if it would offer a particularly gripping spectacle. Entertainment lies, often, in the imperfections: the lapse in concentration that leads to an attack; the mistake that concedes an equalizer; Harry Maguire. Which good do we want?
If that sounds an ephemeral, philosophical question, it is not, not at the moment. European soccer’s financial imbalance — between the Premier League and everyone else; between the dozen or so superclubs and their underlings; between the state-backed and the self-sufficient — has allowed a handful of teams to achieve a level of excellence that is more sustainable than ever before.
There exists a group of clubs that can carry squads of quite impossible depth, slipping in one $70 million player after another; gobbling up any talent that emerges elsewhere; acquiring the best in sports science and data analysis and youth development.
Those teams are capable of playing soccer that touches perfection: Bayern Munich and Manchester City and Liverpool and Chelsea. Entering Friday, the Premier League’s top three had goal differences of +23, +32 and +26. Only two other teams have positive goal differences, and one of those is Manchester United, which is currently on +1. P.S.G. is already 11 points clear at the top in France. Bayern is on course for a 10th straight German championship.
There is a pleasure in watching all of them, of course, as there is a pleasure in watching any master at work. The intricacy of City’s movement, the ruthlessness of the attacks of Bayern and Liverpool, Chelsea’s precision-engineered craft. But that is unrelated to whether they produce games that are compelling to watch. Just as Manchester United and Arsenal did not have to be good to conjure a good game, the converse is true. Good teams do not necessarily lead to good entertainment.
To Chelsea, Bayern and the rest, that is of no concern: The professional part of professional soccer means that their only duty is to win, as much and as well as possible. It can feel a little dirty, too, to discuss soccer in these terms, gathering it under that great umbrella that encompasses television and cinema and music and all the rest.
But, ultimately, that is what soccer is supposed to be: entertainment. It is because it is entertaining that we keep watching. It is, in part, why fans are quicker to turn on coaches who prioritize the dour and the miserly rather than those who speak airily of their visions of the game. Excellence can take the breath away. But it is the flaws that keep us coming back for more.
The Not-So-Lovable Underdog
It has been hard not to admire Atlético Madrid for the last decade or so. Not only because of what Diego Simeone has achieved — the two league championships, the two Champions League finals — but the circumstances in which he has done it, and the approach he has taken.
Atlético has emerged as a consistent power in La Liga and the Champions League on a fraction of the budget enjoyed by its rivals both in Spain and in Europe. It has done so not by copying the stylistic orthodoxy of the elite, but by subverting it. Where others have sought elegance and beauty, Atlético has prized courage and grit and a snarling, street-fighting determination.
That has made it a useful corrective in the era of the smooth, glossy superclub: Atlético is a reminder that power and money are not always everything, that there is more than one path to be taken, that beauty can be in the eye of the beholder.
Criticizing Atlético always risks sounding prudish. Simeone’s team embodies certain martial values, after all, a vision of soccer that many cherish. Competitive sports is not meant to be gentle. And yet, on its journey through the Champions League, it has felt a little like something at Atlético has curdled. It has become the underdog you want to lose.
At Anfield, a few weeks ago, Simeone’s team spent a considerable portion of the game trying to incite Sadio Mané into doing something reckless. Against Porto, on Tuesday, its response to coming under concerted pressure was to spark two full-scale brawls.
When Atlético had a player dismissed, it did not grit its teeth and dig in; it set about leveling the field. This time, it worked. The Porto substitute Wendell reacted to Atlético’s provocation. Brushed on the touch line, the Atlético striker Matheus Cunha fell to the ground theatrically, and the referee duly produced a red card.
Atlético went on to win the game, and book its place in the last 16. Not long ago, the frenzied scenes of celebration would have been quite uplifting, another demonstration of Simeone’s team’s indomitability. This time, it was not quite so appealing.
Atlético no longer seems a team that can indulge in soccer’s dark arts — and there is a place in all sports, for gamesmanship, and it is even possible to marvel at their master practitioners — but a team defined by them. In another time, those brawls might have looked like a deliberate tactic: It is Atlético, after all. But not this time. This time, it looked like a team losing control, letting its demons run.
Coming Saturday: M.L.S. Cup
Warning Signs
This is a slightly strange week, it has to be said, to issue some grand proclamation about the strength of the Premier League. After all, only one of its four representatives in the Champions League recorded a victory in the final round of group games.
Manchester City lost at RB Leipzig. Manchester United drew at home to the Swiss champion, Young Boys. Most damaging, Chelsea conceded a late equalizer against Zenit St. Petersburg that meant it did not win its group, making its task significantly more difficult in the last 16 (unless it draws Lille, the weakest of its potential opponents, on Monday).
But the nature of that sole victory felt instructive. Liverpool did not need to beat A.C. Milan. Jürgen Klopp’s team had already won its group with ease, allowing him to change his side considerably. By a conservative estimate, he omitted eight first-team players from the game. Milan, by contrast, had to win to have any chance at all of qualifying for the knockouts.
And yet Liverpool, with a team far weaker than it would ever dream of sending into a Premier League game, still strolled to victory. In the context of the week, that means little. But take a step back and it fits a pattern: England has provided both teams for two of the last three Champions League finals. Only one English team — United last year — has failed to make it out of the group stage since Tottenham in 2016.
There is nothing new in one league’s emerging as the best on the planet. Italy held that status in the 1990s. Spain has been able to lay claim to it for stretches of the current century. Perhaps it is just England’s turn again, as it was between 2005 and 2010 (give or take a little blurring at the edges.)
The difference this time is the size of the gap. The Premier League’s financial advantage is growing at an alarming rate: its television revenues are increasing at the same time that most of continental Europe’s clubs are trying to claw back money lost to the coronavirus pandemic.
Liverpool’s second team can include a $45 million defender like Ibrahima Konaté, and a $50 million midfielder like Alex Oxlade-Chamberlain. A.C. Milan, on the other hand, had the chance to sign Bernardo Silva from Manchester City this summer but simply could not come close to his $8 million-a-year salary.
The nature of the Champions League — the vagaries of the draw, the immediacy of the format, the outsize influence of injury in a knockout competition — means it cannot be guaranteed that a Premier League team will win it this season. But there are, now, only one or two continental sides that might realistically match the English contingent.
The financial gulf is now so great that the trend should only grow stronger over the next few years. Of course, continental Europe’s clubs could spend their money more wisely, they could recruit better, and they could play smarter (Italian and Spanish teams, for one, need to adopt a higher tempo to compete). But the imbalance is such, now, that it is hard to see how it is corrected.
Correspondence
There was, it turns out, a glaring inaccuracy in last week’s newsletter. This is unacceptable, of course, and I will be duly censured for it — though my attempts to secure myself the traditional soccer punishment, a weeklong suspension on full pay, have been unsuccessful — but I think you may understand: apparently, Juventus is not the only club in the world to have its own font.
Bea Reiter points to the Kansas City Current, of the N.W.S.L., which boasts a hand-drawn effort to “reflect the power and movement of the brand.” Major League Soccer’s Columbus Crew can make the same claim, Harmon Vredeveld informs us: It has a bespoke font, too, called NineSix, a nod to the year of the club’s founding. Every day, as they say, is a school day.
Apologies are also owed to Ben Myers and Naomi Farley, who were equally offended that I forgot to add Weston McKennie in my list of young players Juventus might, if it were so minded, try to build a revitalized team around. He warranted a mention, certainly, though I fear he may yet prove a victim of the club’s short-termism.
Let’s end on a positive note, because Zach Hollander has the kernel of an excellent idea to share. “Don’t you think it would be beneficial to have the Ballon d’Or decided after summer tournaments, but before the next season starts? That way it would take into account one full season, and let players who have an incredible club season not be “forgotten” for having a slow start to the next season.”
This is thoroughly sensible, but the solution is far easier: Leave the Ballon d’Or where it is, for reasons of history, but move the other individual award — the FIFA one, rather cumbersomely called The Best — to the end of the season. That way, each award has its own, defined place, rather than sharing space: one for the calendar year, one for the soccer year.
