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      These Soccer and World Cup Movies Have Big Goals

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      Soccer movies are often eclectic and at times unclassifiable, drawing from multiple continents and genres.Every four years, the World Cup offers something not unlike the movies: For a whole month, it stops time, enveloping its distant spectators in the electric-green glow of the screen.But there’s more to the “beautiful game” than balletic ball-moves and the cheek-gnawing suspense of gameplay characterized by low score count. Ladj Ly’s 2019 crime thriller, “Les Misérables,” set in the immigrant-populated underworld of the Parisian banlieues, paints it vividly: In the opening minutes, we’re plunged into the Champs-Élysées, where throngs of fans draped in red, white and blue celebrate France’s victory at the 2018 World Cup. The pulsing moment is one of communal exultation at odds with the film’s forthcoming depiction of a fractious multiethnic society.“The thing about football — the important thing about football — is that it is not just about football,” the English author Terry Pratchett wrote in the novel “Unseen Academicals.” This observation could very well apply to all sports built on mass followings and billion-dollar business deals, but soccer — a potent symbol of globalization heavy with historical baggage — is uniquely revealing: The game is a prism through which the ever-evolving world, and the interconnected fortunes of people from disparate parts of it, comes to light.No wonder soccer movies are often eclectic and at times unclassifiable, drawing from multiple continents and genres. Take John Huston’s World War II adventure drama “Escape to Victory.” Pelé, the legendary Brazilian striker, is joined by Sylvester Stallone, Michael Caine, and real-life professional footballers from across Europe and North and South America to play ball against Nazi rivals. And from Hong Kong, there’s Stephen Chow’s hit kung fu comedy “Shaolin Soccer,” a nod to the fast-growing popularity of soccer throughout Asia, released one year before the 2002 World Cup in Japan and South Korea. Not that soccer films are all about global cooperation and underdog badassery; other films poke fun at the game’s biggest icons. For this, see the brilliantly unhinged “Diamantino,” a surreal Portuguese spy movie spoof featuring a Cristiano Ronaldo look-alike who gets in the zone by imagining himself in a cotton-candy field surrounded by elephant-size Pomeranians.Stephen Chow in “Shaolin Soccer,” which he also directed.Miramax FilmsThe 2022 World Cup in Qatar, the first ever held in a Middle Eastern nation, has courted countless controversies, with the host country’s conservative traditions starkly at odds with the sport’s modern fandoms. FIFA and Qatar have been pelted with charges of corruption and bribery, but most harrowing, perhaps, are reports of the country’s exploitative use of migrant labor, resulting in the deaths of thousands of workers from primarily South Asian and African countries. The documentary “The Workers Cup” (2018) takes us to the labor camps erected on the outskirts of Doha, where we meet a handful of soccer-enthusiast workers who come to terms with the underpinnings of a brutal industry — the same one responsible for nurturing their own athletic dreams.Since the start of the tournament, fans and players have spoken out about the region’s thorny politics (including the criminalization of homosexuality) and religious practices. On this front, and on the matter of soccer’s ability to ease or exacerbate ethnic tensions, the documentary “Forever Pure” (2017) comes to mind. Directed by Maya Zinshtein, it traces one of the ugliest episodes in Israeli soccer, doubling as an exposé into what it sees as the country’s systemic racism. Consisting of interviews with the players, owners and fans of the Beitar Jerusalem Football Club, the documentary examines the reactions of these individuals against the addition of two Muslim players to the team — and the language of racial purity used to justify their opposition.Corneliu Porumboiu, right, in his documentary, “Infinite Football,” with Laurentiu Ginghina.Grasshopper FilmLess inflammatory but similarly illuminating are two documentaries that plumb political dimensions through intensely personal stories of soccer obsession — both by the Romanian auteur Corneliu Porumboiu. The first, “The Second Game,” features voice-over commentary from Porumboiu and his father as the two watch a 1988 match refereed by the elder Porumboiu between two of Romania’s leading squads. The game takes place one year before the revolution that toppled the country’s totalitarian leader, ‌Nicolae Ceausescu — a period in which Romanian soccer was openly a tool of political scheming; one team was associated with the military, the other with the secret police. At the same time, there’s the slightest hint of nostalgia as the two men look back on several players, considered part of Romania’s golden generation of soccer, who would eventually leave the country to play for more prestigious professional teams in Western Europe.The second film, “Infinite Football,” introduces us to a hobbling ex-footballer-turned-pencil-pusher with an elaborate plan to reinvent the rules of the game, to better prevent injuries like the one that ended his athletic career. It’s a parable for the fractured state of Romania itself through the lens of one man’s desperate attempt to fix what broke him.In the first week of this year’s tournament, members of the Iranian team refused to sing the national anthem before their game against England — a display of solidarity with an ongoing protest movement against Iran’s leadership, spurred by the killing of a young woman in police custody. The confluence of these events brings to mind one of the great soccer movies of the past twenty years, “Offside” (2007) by Jafar Panahi, the Iranian master currently imprisoned for his political beliefs. A pointed critique of the country’s misogynist strictures delivered at the pitch of a dark comedy, the film follows a group of women who have been caught disguising themselves as men to enter a Tehran stadium where a match will determine Iran’s qualification for the 2006 World Cup.Golnaz Farmani in “Offside.”Sony Pictures ClassicsLike “Offside,” several international films consider the way soccer fandom pits modernity against traditional ways of life, simply through the struggles of people attempting to watch a game. “The Cup” (2000) was the first film from Bhutan to be submitted for an Oscar, featuring real-life Tibetan monks swept up in the frenzy of the 1998 World Cup. A group of novices lead makeshift soccer games using a can of Coca-Cola as a ball, and at night sneak away from the monastery to watch the Cup in a nearby cottage. Granted permission to set up a television on monastery grounds for the final game between France and Brazil, the boys race to collect funds for a satellite dish and set up the device in time for kickoff.The same dynamic plays out across three different remote locations in Gerardo Olivares’s gentle mockumentary “The Great Match” (2006), which is also structured around the struggle to watch a World Cup final — the 2002 showdown between Brazil and Germany. The film follows the misadventures of three unrelated groups of soccer fans: Kazakh nomads from the Eastern Mongolian steppes, camel-mounted Berber tribespeople in the Sahara, and Indigenous Amazonians.Both films present the love of soccer as a universal bond, a bitter pill considering it might also be the only common ground between us viewers and these disappearing cultures — soccer, after all, is nothing if not a tool of cultural hegemony. At the same time, though the stakes aren’t a matter of life or death, the passion of these fans — the way they persist in their efforts to seize a small slice of pleasure in a world of tireless work, exile and material hardship — might say something about what soccer would have to offer were it stripped of its territorial fanatics and its billion-dollar pomp and ceremony.Where to Stream These Soccer MoviesStream “Les Misérables” on Amazon Prime Video.Rent “Escape to Victory” on multiple digital platforms.Stream “Shaolin Soccer” on Paramount+ or the Criterion Channel.Stream “Diamantino” on major digital platforms.Stream “The Workers Cup” on multiple digital platforms.Rent “Forever Pure” on Apple TV.Stream “The Second Game” on the Criterion Channel or Mubi.Stream “Infinite Football” on the Criterion Channel or Kanopy.Stream “Offside” on the Criterion Channel.Stream “The Cup” on the Criterion Channel.Stream “The Great Match” on Tubi or Film Movement Plus. More

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      Kyrie Irving Rebuked for Linking to Antisemitic Documentary

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      Irving, the Nets guard, posted a link on Twitter to a documentary that promotes antisemitic tropes. Joe Tsai, the Nets owner, said he was “disappointed.”The Nets owner Joe Tsai spoke out against his team’s star guard Kyrie Irving on Friday after Irving tweeted a link to a documentary that promotes antisemitic tropes.“I’m disappointed that Kyrie appears to support a film based on a book full of anti-semitic disinformation,” Tsai wrote in a Twitter post late Friday. “I want to sit down and make sure he understands this is hurtful to all of us, and as a man of faith, it is wrong to promote hate based on race, ethnicity or religion.“This is bigger than basketball.”Tsai posted on Twitter just before 11:30 p.m. Friday. A representative for Irving did not immediately respond to a text message.The documentary, “Hebrews to Negroes: Wake Up Black America,” was written and directed by Ronald Dalton Jr. and released in 2018. Dalton also released a book with the same title. On Thursday, Irving tweeted a link to a site where users can rent or buy the documentary. He also shared a screenshot of the site on Instagram. In response, Rolling Stone magazine reported on the antisemitic messaging of the documentary and the book.Irving, 30, is a seven-time All-Star in his fourth season with the Nets, but his off-court actions have often overshadowed his basketball career.He did not play in most of the Nets’ games last season in part because he refused to be vaccinated against the coronavirus, which New York City required for him to compete in home games. The Nets initially barred him from road games as well but relented about two months into the season as the team struggled.In September, Irving was widely criticized for sharing a conspiracy-theory video by the Infowars host Alex Jones, who for years falsely said the 2012 Sandy Hook shooting that killed 26 children and adults was a hoax.Kareem Abdul-Jabbar, the N.B.A. Hall of Famer, chastised Irving for sharing Jones’s video, writing on Substack that “Kyrie Irving would be dismissed as a comical buffoon if it weren’t for his influence over young people who look up to athletes.”In 2018, Irving was mocked for falsely suggesting that the Earth might be flat.“Can you openly admit that you know the Earth is constitutionally round?” he said in an interview with The New York Times. “Like, you know that for sure? Like, I don’t know.”Irving joined the Nets as a free agent in 2019 after playing for the Boston Celtics and the Cleveland Cavaliers, with whom he won a championship in 2016 alongside LeBron James. The Nets have made the playoffs in each of Irving’s seasons with the team, but they are struggling this year. Five games into the season, they have won just once. Their next game is Saturday at home against the Indiana Pacers.Tania Ganguli More

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      ‘The Redeem Team’ Review: Squad Goals

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      A documentary looks at the 2008 U.S. men’s Olympic basketball team and its mission to bring back gold after a humiliating loss.As narratives of national uplift go, the 1992 U.S. Olympic men’s basketball consortium, known as the “Dream Team,” was one of the most shamelessly contrived. Once international players started to get the hang of hoops, how was America to maintain hegemony? Blitz them with the cream of the professional crop. This strategy wasn’t foolproof. A humiliating loss to Argentina in 2004 deprived the United States of the gold. This aggression would not stand.“The Redeem Team,” a documentary about the 2008 squad that was charged with getting the Americans back to the top spot, is smart in not asking the viewer to feel too bad for the 2004 group. The Argentine player Pepe Sanchez nailed the issue right after the match: “This is a team sport. You play five on five, not one on one.”Taking charge for the 2008 run is the Duke coach Mike Krzyzewski, a figure both respected and despised (the team member LeBron James is frank: “Growing up in the inner city, you hate Duke”). Krzyzewski makes teamwork the priority, and he holds to that even when he brings aboard Kobe Bryant, then a notorious lone wolf.The movie, directed by Jon Weinbach, offers several eye-opening mini-narratives on the way to a rematch with Argentina. Doug Collins, a member of the U.S. team in 1972, speaks to the 2008 players about his painful experience in a game arguably stolen by the Soviet Union. Bryant softens up his old friend Pau Gasol, a member of Spain’s team, the better to execute a shocking “who’s the boss” move on the court. The intimidating presence of Argentina’s ace shooter Manu Ginóbili causes no small concern. While no realistic observer of American sports could call this movie inspirational, these sequences definitely make it engrossing.The Redeem TeamNot rated. Running time: 1 hour 37 minutes. Watch on Netflix. More

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      Jeremy Lin Finally Loves ‘Linsanity’ Just As Much as You Do

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      A star turn with the Knicks in 2012 made Lin a cultural icon. But the focus on his race — Lin is Taiwanese American — made him uncomfortable for years.When he went from mostly anonymous to global celebrity in 2012, Jeremy Lin was overwhelmed by the attention and struggled to tune it out. For many people, he suddenly represented many things — a stereotype breaker, an inspiration — but, well, he just wanted to play basketball.“It was a tornado of emotion because there’s so much that was happening,” Lin, who is Taiwanese American, said in a recent interview. He added, “I didn’t even know what to feel like.”He captivated the sports world that February with star play for the Knicks, a stretch that included a seven-game winning streak and was dubbed “Linsanity.” Lin was uncomfortable with the term — and would be for years — but he was also fearful.“Fear of paparazzi,” he said. “Fear of people chasing down my family members. Fear of people trying to steal from me. Lie to me. Monetize off me. Fear of the people that I love. Fear of not living up to people’s expectations or missing out on opportunities and thinking that I had to take every single one of them off the court.”Lin had 38 points and 7 assists against the Lakers on Feb. 10, 2012. It was the highest-scoring performance of his Linsanity run that month.Andrew Gombert/European Pressphoto AgencyA decade later, Lin has fully embraced the phenomenon that turned him into a cultural icon. Though he never again reached those basketball heights after leaving the Knicks for the Houston Rockets the next season, he still carved out a productive N.B.A. career — even winning a championship as a reserve on the Toronto Raptors in 2019.But the ascendant run in New York remains what he is most known for. It has been memorialized in an HBO short documentary out on Oct. 11 called “38 at the Garden.” The title refers to his 38-point Linsanity performance against the Los Angeles Lakers, whose star guard Kobe Bryant said before the game that he had not known who Lin was. The documentary also explores the persistence of anti-Asian bigotry.Lin spoke to The New York Times recently from China, where he will play for the Chinese Basketball Association. He discussed his evolving feelings on Linsanity and using his influence.This conversation has been condensed and lightly edited for clarity.When someone comes up to you and says, “Hey, Jeremy, you mean X, Y and Z to me,” how does that make you feel today?Every year, I’ve gotten increasingly more grateful for it. Maybe because words of affirmation are not always my love language, but I’ve always kind of been like a “talk is cheap” type of thing. And so, when everyone is complimenting you constantly everywhere you go, who knows who actually thinks what?And I think now I’m starting to realize: “Oh, no: A lot of these people genuinely mean what they’re saying. I really impacted their lives.”How strange was it, if at all, to watch the documentary and to see that version of yourself from 10 years ago?It’s so crazy because it’s one of those things that I had watched it so many times and I was so aware of it, but I haven’t gone back and watched it in like seven years.I don’t look up those highlights. I don’t go back to them and watch them to make myself feel better or anything. I’m kind of like, I know that existed, and it was such a vivid memory for this stretch of my time. And then for me, like, my life and career moved on.Frank Franklin Ii/Associated PressI don’t want to call it Linsanity because I know you’ve had a complicated relationship with that word. So, that period of your life in New York, how do you reflect on it now?I’m very comfortable saying, “Oh, yeah, that was Linsanity.” That shows you where I’m at with it.Originally, I was like, I’ll never do anything around Linsanity. I don’t want to do a documentary or any of that stuff, or go back in time.But then, I was like, I have no problem with it. I would actually love to because it was a special moment and also because we need to be talking about it right now. Linsanity has become so much more important and valuable to me.You just mentioned that we need to be talking about this. Why is that?That was a moment that was so special for Asian Americans and minorities. It’s because there are so few of those moments. It’s because in general, society does not typically celebrate those type of moments. And because we don’t see that type of success from people who don’t look the part.What is the biggest misconception about that period of your life?The way that I left New York and the attacks on my character. I don’t mind getting criticism for my game. Or if I look a certain way. If I play a certain way or whatever. But when you talk about my character, that hits differently to me personally.My recollection is that the vast, vast majority of fans were not upset with you for joining the Rockets. They were upset at the Knicks for not keeping you.Yes and no. There was definitely a lot who were upset with me, but the narrative that came out was first that I went to the Rockets to ask for more money and that I was purposely putting New York in a tough position. That’s the narrative that was spun onto me and being called, like, you know, certain things or chasing the money.The real story is, I actually went to my agent and told him, “Can we go back to the Rockets and ask for a less lucrative offer? Because I actually want to go back to New York, and I want to go back to New York badly. And I don’t want there to be a poison pill.” That’s the true story. But that’s not the story that was thrown out there.“Saturday Night Live” did a sketch parodying the coverage of you at the time, a significant portion of which featured racist tropes. What did you think of that sketch?To be honest, I don’t even know if I ever watched it.The crux of the sketch was that headline writers and sports reporters couldn’t stop leaning into tropes when discussing you. How much did you notice that at all, if at all, during that period?That’s why this whole thing with Linsanity is complex. My whole life, I tried to run from being Asian, and when I was on the basketball court and the ball was tipped off, race did not matter. It was my safe space to be myself without having to be the token Asian. By the time that Linsanity came around and I got worldwide recognition, the only thing people really wanted to talk about was my ethnicity and my race and oftentimes in very demeaning and condescending and just racist ways.It was like the thing where I was like, I just don’t want you guys to talk about me being Asian. I just want you to appreciate what I’m doing on the court. I’m an artist, and you’re missing out on the art.I had to grow up in the sense of why am I, 10 years later, willing to go back in time? It’s because I didn’t use that time and that influence the way that I wish I did. I wish I’d talked so much more about me being Asian but talked about it in better ways versus trying to run from it.What is your hope of playing in the N.B.A. again?I’ve always had that hope. But that door seems to be pretty shut, and I feel like that was confirmed and double confirmed after what I had done in the G League and how well I had played and seeing that all the top scorers and all the top assist leaders all got contracts except for me. So, at that point, it was kind of like, there’s nothing else I could do.I’ve accepted all the challenges of all the front offices to go back and to show you guys that I can do this. And I did, and it wasn’t enough. I’ll always want to play in the N.B.A. I mean, I loved my time there. I love competing in that league, but I just don’t think that’s in the cards anymore. More

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      in Tennis

      John McEnroe Gets His Revenge

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      John McEnroe was sitting on a couch 43 stories above Manhattan, his gray curls and sleepy, crinkled eyes betraying every one of his 63 years, some of them hard ones, regaling an awe-struck podcaster with stories of his glory years. His rivalry with Bjorn Borg, his battles with chair umpires and his own demons.The awe-struck podcaster was Kevin Garnett, the N.B.A. champion, Olympic gold medalist and 15-time N.B.A. All-Star who is 17 years younger than McEnroe. Garnett was 8 years old when McEnroe won his last Grand Slam singles title in 1984.Somehow, that does not matter, not even a little bit.Thirty years after McEnroe played his last match at the U.S. Open, the irascible kid from Queens, the notorious hothead who griped and cussed and kicked his way across the hallowed grass of Wimbledon and every other tennis court, possesses a star power that has barely faded. It is especially bright during the U.S. Open. He is the leading voice of the tournament on ESPN, the subject of a new documentary, even the narrator and superego of a lovesick and unathletic teenage Indian American girl with a hot temper on Mindy Kaling’s comedy “Never Have I Ever.”The staying power is sweet revenge for the man whom much of tennis officialdom once viewed as toxic to their genteel game.“Maybe I wasn’t so bad after all,” McEnroe said during a recent interview at the end of a day that began with an early-morning appearance on “CBS Mornings” and then was jam-packed with chats with journalists, including from N.P.R.’s “Fresh Air.” “These guys who were trying to run me out of the game, maybe they should have been trying to help me instead of hanging me out to dry back in the ’80s.”‘The Weight of the Name’McEnroe won seven Grand Slam singles titles, plenty no doubt, but not as many as Jimmy Connors or Andre Agassi or Ivan Lendl, who each won eight, to say nothing of Borg’s 11, Pete Sampras’s 14 or Rafael Nadal and Novak Djokovic, who have tripled his tally.Yet, McEnroe still looms over his contemporaries, as well as Sampras, who dominated the era just after McEnroe’s. When he walks the grounds of the U.S.T.A. Billie Jean King National Tennis Center, he is still the quarterback of the varsity football team in the high school cafeteria.“Johnny Mac!” fans yell to him as he passes.If they can get a word with him, they often tell him how they liked how he thumbed his nose at authority, in a way that perhaps they have never felt empowered to.Word got back to Nadal last week that McEnroe was griping on television that the Spanish champion was violating the time limit between serves. “I’m going to have a chat with him,” Nadal said with a wry smile.He has written two memoirs and been the subject of multiple books. There was a feature film in 2017 about his rivalry with Borg, the Swedish great he vanquished into retirement. The next year came a documentary about him focusing on his brush with perfection in 1984. He has hosted a game show.John McEnroe and Coco Gauff during Tennis Plays for Peace, an exhibition to benefit Ukraine.Jamie Squire/Getty ImagesWhen the United States Tennis Association wanted to hold an exhibition to raise money for relief efforts in Ukraine, McEnroe was among its first calls. In that exhibition he played doubles with Nadal, Coco Gauff and Iga Swiatek. All are younger than his oldest child. He’d love a chance to coach Denis Shapovalov of Canada, the flashy and talented, but temperamental, lefty — sound familiar? — but has yet to get the call.Showtime released the latest documentary last week. The 100-minute film — McEnroe’s longtime agent, Gary Swain, is among the executive producers — is an exploration of his tortured psyche and the seemingly unfulfilled promise of someone who was, for a brief few years a long time ago, both the greatest player who ever lived and perhaps the most miserable.“The weight of the name ‘McEnroe,’ it’s heavy all across the globe,” said Barney Douglas, who directed the latest documentary.But why?McEnroe’s younger brother, Patrick, who also played professional tennis and now commentates (and squabbles) with him on ESPN, thinks he knows the main reason.“He’s authentic,” Patrick McEnroe said.Mellowing, Just a Little, With AgeDuring his playing days, John McEnroe may have been a bit too authentic. Tennis officials and some of their comrades in the news media viewed McEnroe as a menace to the sport. They fined and penalized him and threatened him with suspensions. They derided his penchants for hopping on concert stages to jam with rock stars and indulging in their late-night habits. The British press and the paparazzi hounded him so intensely, especially after his marriage to the actress Tatum O’Neal, that he skipped Wimbledon at the height of his career.As it turned out, McEnroe was already where tennis was headed long before it arrived, in good ways and bad.His game, which was all serve-and-volley all the time, may be completely out of step with nearly every top pro these days. But McEnroe possessed in spades something that continues to separate the best from the merely great — that magical and unteachable touch and creativity that allow a player to blast one shot and feather the next one. He could hit an opponent off the court on one point, then practically catch a 100-mile-per-hour forehand rocket on his racket on the next one.John McEnroe won the 1981 U.S. Open after defeating his rival Bjorn Borg in the final. He finished his career with seven Grand Slam singles titles.Photo by Professional Sport/Popperfoto via Getty ImagesHe also brought to the court the petulance and nastiness, the relentless attacks on chair umpires and equipment that have become so integral to the modern game, whether it was Serena Williams threatening to shove a ball down a linesman’s throat during her 2009 U.S. Open semifinal against Kim Clijsters or Nick Kyrgios’s tireless tirades at Wimbledon this year.The tennis gods blessed him with limitless talent. But they also saddled him with a mind prone to the anguish of tennis in a way that many top professionals now openly discuss. There have been therapists who have tried to help McEnroe explore that struggle, sometimes by his own choosing, sometimes at the direction of the legal system, with varying degrees of success, he said.And it all played out when television cameras first began treating tennis players like the reality television stars they are today. (Stay tuned for Netflix’s tennis version of “Drive to Survive,” the Formula 1 series, that is now in production.) That made McEnroe that rare character remembered, even lionized, not just for how he won but also for how he stumbled and fell short, a narrative of triumph and also a cautionary tale.“I was a little shy, and it was all a little overwhelming, and then somehow it all started to become magical,” McEnroe said of his journey.Like so many other modern stars of the game, though, he struggled to enjoy it.The tennis commentator Mary Carillo, a fellow New York native and his mixed doubles partner for their win at the French Open in 1977, recalled an 18-year-old McEnroe losing his temper with a waiter at a Paris cafe that spring. McEnroe spent several minutes yelling, “omelet du fromage,” which was the only French he spoke, at a waiter who ignored him. The waiter finally wandered over and quietly, but dismissively, told McEnroe, “The omelet is closed.”“To this day, when we’re arguing about something and I’m done with it, I just say, ‘The omelet is closed,’” Carillo said.John McEnroe argues with the chair umpire during Wimbledon in 1981.Bettmann / ContributorLooking back, McEnroe acknowledges a lot of what he sees in himself still angers him. Long before Djokovic and Kyrgios and plenty of others started using the coaches and family members in the player boxes to vent their frustrations, McEnroe directed an expletive at his father as he clapped for him during a match at Wimbledon.McEnroe later told him he was yelling at someone else in the crowd. His father accepted the explanation, though McEnroe is pretty sure his father knew he was lying.“It gave us both plausible deniability,” he said.Even his mother landed in the line of fire sometimes. He was still living at home when he won his first U.S. Open, sleeping in his childhood bedroom each night, eating his mother’s food, which he would impolitely order her to provide at a specific time before his matches.Fed up with his behavior, she asked him why he couldn’t behave more like his friend Peter Rennert, the tour pro who was his constant sidekick.“That made me feel like I was an inch tall,” McEnroe said.Age has mellowed him, though not entirely. His second marriage, 25 years and counting, to Patty Smyth, the lead singer of the rock band Scandal (“I am the warrior. …”), and six children have given him some perspective, as well as a few talking-tos when he gets out of line.But when he hears people saying his serve-and-volley game would not have a prayer against the likes of Djokovic, Nadal and Roger Federer, his voice rises to resemble that unmistakable ranting of the man who made chair umpires’ lives deeply unpleasant.Dial back time to the peak of his powers, put him on a grass court at maximum intensity, and McEnroe is comfortable in his belief that every so often he could have beaten the modern greats.“I would have gotten under the skin and made them think,” he said. “Would not have had a winning record, but I would have gotten to them a few times.”Sounds plausible. In his own way, McEnroe has gotten to all of us — and still does. More

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      A Paean to the Gods (and Shammgods) of New York City Hoops

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      Some of the most memorable characters in New York basketball history gathered in Manhattan for a screening of the documentary film “NYC Point Gods,” a tribute to — well, to them.There is little left that defines New York City basketball, save for the Knicks’ eternal search for an impactful lead guard. It’s a search that has always been inflamed, exacerbated and magnified by the abundance of point guards bred by the city.There was the incandescent Pearl Washington, who rode a motorcycle and sometimes wore a fur to playground games, and whose tremendous dribbling for Syracuse destroyed Georgetown’s dominant full-court press in the Big East tournament.And God Shammgod, the worshiped Harlem guard who played a game within the game by offering the ball up to defenders with his right hand and then ripping it back with his left. The move, still replicated in N.B.A. games by Russell Westbrook and others, is known as the Shammgod.From them and others, New York point guards learned that moxie, flair and unimpeachable handles were just as important as the ability to initiate an offense. But the era that established the archetype of the New York point guard — pillared in the 1970s and 80s by Catholic schools that have since closed for lack of funding and playground courts that saw their rims removed during the Covid-19 pandemic — is gone.For a rare moment on Wednesday night, it was reanimated at a screening of “NYC Point Gods,” a feature-length Showtime documentary that pays homage to the guards who gave the city its rep. The film was produced by Kevin Durant and his business partner and agent, Rich Kleiman. Durant, a New York transplant, wore Dior as he doled out hugs to the documentary’s subjects. Kleiman, a native, gleamed in gold aviator glasses as he introduced the film to shouts from the audience that referred to him as Ace, as in Rothstein, the protagonist of the movie “Casino.”Durant and God Shammgod greet each other at the premiere.Theo Wargo/Getty ImagesThe venue was Manhattan West Plaza, a cathedral to the power of real estate development ordained into usefulness by a New York tradition: hoopers paying homage to hoopers.That term is an honorific that disregards professional status and statistics and can be conferred only by another hooper. It doesn’t matter if you had a 20-year N.B.A. career or if your best performances are now remembered only by basketball griots. There’s a reverence among hoopers. Did you make those who watched you play love the game as you did? Did you give the crowd an “I was there when” story?Outside the Midnight Theatre, camera flashes greeted Rafer Alston and Kenny Anderson, who walked the red carpet with his mom. Sabrina Ionescu, of the W.N.B.A.’s Liberty, sidled up for hugs with Nancy Lieberman and Niesha Butler. Jayson Tatum, of the Boston Celtics, deferentially cupped hands with Anderson as Paul Pierce spelled his name for a puzzled list-holding publicist.Once the film rolled, though, the guards’ trademark toughness washed away as they listened to each other’s stories. “It was very emotional, not just for myself, but, you know, I lived and witnessed those stories of the other guys and girls also,” said Mark Jackson, a former Knicks point guard who starred at St. John’s. Seated alongside his four children, he dabbed at his eyes as he heard Kenny Smith, a Queens-born retired N.B.A. champion, describe how Jackson’s smarts led him to a nearly 17-year pro career.Mark Jackson with his children.Amanda Westcott/ShowtimeAt its heart, “Point Gods” is the hoopers’ oral history of how the city created a lineage at the position. Shammgod developed his dribble because his gym teacher, Tiny Archibald, told him it would make him perpetually valuable to any team. Only by watching a V.H.S. mixtape compilation of point guard highlights called “Below the Rim” did he learn of Archibald’s previous work.That revelation drew a crack of laughter inside the screening, where, earlier, attendees jostled over seats and settled in with the shoulder-to-shoulder intimacy of the city’s bandbox parks. Dao-Yi Chow, a lauded fashion designer, sat near a far wall wearing Jackson’s Knicks jersey. Clark Kent, whose real name is Rodolfo Franklin and who goes by the Rucker Park-ian nickname “God’s Favorite DJ,” held down a back-row seat. Kent produced a chunk of Jay-Z’s debut “Reasonable Doubt,” which dropped in 1996, the year Jeff Van Gundy took over the Knicks.For his part, Jay-Z had welcomed Shammgod on a nearby rooftop patio before the screening. The rapper and mogul was a mainstay of Rucker Park’s Entertainer’s Basketball Classic in the early aughts, and his attempt to woo Kareem Reid from a rival’s team with a bag of cash is told by that rival, the rapper Fat Joe. The exact sum, rumored to be in the thousands, is bleeped out in the retelling as Joe recounts the Mafioso-style meeting he had with Reid to convince him not to jump ship. Reid, who had a cup of coffee with the N.B.A.’s Hornets in 2003, stayed.When the film showed LeBron James, Beyoncé and N.B.A. Commissioner David Stern (wearing Joe’s platinum and diamond chain) making summer pilgrimages to the park, a woman seated four rows from the screen yelped, “I was there,” “I was there,” “There too,” both tallying her attendance and bringing Harlem into the room.In another scene, the rapper Cam’ron — a Harlem native who played on several high school travel teams alongside some of the documentary’s subjects — explained that oohs and ahhs from the crowd were worth “five or six points” to a New York point guard.Cut to Anderson in a 1991 A.C.C. game. He’d been a high school legend at Archbishop Molloy in Queens, and New Yorkers who followed his career to Georgia Tech couldn’t wait to see him mix up Duke’s Bobby Hurley, who was notorious for his lax defense. The point guard cast hypes up what’s about to come, and Smith urges the director to pull the game footage up so he can narrate a grainy ESPN clip of the one-on-one clash.Kenny Anderson on the red carpet.Amanda Westcott/ShowtimeAnderson meets Hurley at the elbow, then takes his dribble behind his back and between his legs before gliding past a dazed Hurley for a floating layup. Unnoted was the fact that Duke won the game.Small matter. When it happened, only Dickie V’s hyperventilation on ESPN marked the moment as something special. “NYC Point Gods,” though, layered in the soundtrack of the hoopers who have told and retold the story as one of many chapters in their aggrandizing mythology.On film, though, Shammgod is awed. Stephon Marbury, who sported Anderson’s center-parted haircut in high school and followed him to Georgia Tech, leans into the retelling. The unscripted, ephemeral whoops from inside the screening, from N.B.A. stars and high school coaches and their playground peers, fell anew upon Anderson in the theater’s dark. More

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      Naomi Osaka Starts a Media Company, With Help From LeBron James

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      The tennis star, who has struggled on the court of late, is behind an entertainment company called Hana Kuma in partnership with Mr. James’s fast-growing SpringHill.She is a four-time Grand Slam singles champion who ranks as the world’s highest-paid female athlete, having earned $57 million in 2021, mostly from sponsorships. Walmart recently began to stock products from her skin care company, Kinlò, in nearly 3,000 locations. Last month, she started a sports representation agency.And now Naomi Osaka is pushing into Hollywood — with an assist from LeBron James.Ms. Osaka, 24, has started a media company called Hana Kuma in partnership with SpringHill, a fast-growing entertainment, marketing and products company co-founded by Mr. James. Ms. Osaka said in a brief Zoom interview that her ambitions for Hana Kuma, which stands for “flower bear” in Japanese, include scripted and unscripted television series, documentaries, anime and branded content, which is entertainment programming that has embedded or integrated advertising.“I honestly can’t say if I’ll personally be in anything right now,” Ms. Osaka said. “What excites me is being able to inspire people and tell new stories, particularly ones that I would have wanted to see when I was a kid. I always wanted to kind of see someone like me.” Ms. Osaka is of Japanese and Haitian ancestry.Fans should expect Ms. Osaka’s advocacy to underpin at least some of Hana Kuma’s offerings, most of which are still in development. Ms. Osaka has been outspoken on topics that many elite sports stars try to avoid. She was an early supporter of the Black Lives Matter movement. Last year, she started a global discussion about mental health in sports when she withdrew from the French Open, citing a need to make her own well-being a priority. She also disclosed past struggles with depression and anxiety.Ms. Osaka’s candor has resonated with an audience far beyond sports — young people in particular — making her a sponsorship dream even though she has recently struggled on the tennis court. (She lost in the first round of the French Open last month. She said in a social media post on Saturday that she would not play at Wimbledon this summer because of an Achilles’ injury.)One project in development involves cooking and the Haitian community. “I watch a lot of food-related shows, cooking competitions, because I like to cook,” Ms. Osaka said with a laugh. The first project with Hana Kuma credits will be a New York Times Op-Doc about Patsy Mink, the first woman of color elected to Congress. Hana Kuma is also working on unspecified documentary content for Epix, a premium cable channel now owned by Amazon.SpringHill, co-founded by Maverick Carter in 2020, will serve as a financing, operations and producing partner for Hana Kuma. SpringHill has roughly 200 employees and was valued at $725 million when selling a minority stake to raise capital last year. Operations include a marketing consultancy and a media and apparel division dedicated to athlete empowerment. Another unit focuses on film and television production. There is also an events team.“Naomi can just plug into what we have built,” Mr. Carter said.SpringHill wants to replicate the Hana Kuma deal with other athletes who have global appeal. “We want to do a lot more of this in the future,” Mr. Carter said, noting that discussions have started with other sports stars.It must be asked: Isn’t this just a newfangled vanity deal? For decades, old-line studios gave favored stars funding to start affiliated companies, most of which never amounted to much — aside from keeping the star happy.“Under the old system, sometimes those ended up being for vanity,” Mr. Carter said. “But the goal here is to build Hana Kuma into a real company and a real brand.” SpringHill’s emphasis on branded content sets it apart from old-line studios, he added. Hana Kuma has been hired by FTX, a cryptocurrency exchange, to produce branded content.LeBron James at the premiere of Netflix’s “Hustle” in Los Angeles this month.Kevin Winter/Getty ImagesMr. James said by telephone that Ms. Osaka’s “grace and power” on and off the court made her a good match for SpringHill, “which exists to empower athlete creators.”“We don’t take for granted the position we are in to lend a helping hand, in this case to Naomi, to help empower her to do even more great things,” Mr. James said.Ms. Osaka has 12 sponsors, including Nike, Mastercard, Louis Vuitton and Panasonic. Her longtime agent and business partner, Stuart Duguid, said some could be involved with Hana Kuma content. Mr. Duguid is a Hana Kuma co-founder.“We really want to bring that number down and have more in-depth relationships with the ones that continue,” Mr. Duguid said, referring to corporate sponsors. “We want to take bigger swings and start companies, invest in companies, things that might have potentially a bigger outcome than if you did a McDonald’s deal and got paid year to year. What will really move the needle?”Building a portfolio of businesses — while still in the middle of her tennis career — makes Ms. Osaka something of a pioneer among female athletes. At least, it will if she succeeds.“We haven’t seen any female athlete do anything like what we are trying to achieve,” Mr. Duguid said. “Serena has done well with her venture business. But she’s toward the end of her career, and, you know, we’re in the middle.” He was referring to the tennis legend Serena Williams, whose venture capital firm, Serena Ventures, has raised an inaugural fund of $111 million to invest in founders with diverse points of view.Because she is still playing tennis, Ms. Osaka will not be sitting in on many production meetings. “But everything creative and everything strategic, it’s obviously going to have Naomi’s stamp on it and her style and her input,” Mr. Duguid said. More

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      ‘Aulcie’ Review: Love and Basketball, in Israel

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      This melodramatic documentary chronicles how Aulcie Perry, a basketball center from New Jersey, became a celebrity in Israel after he joined the Maccabi Tel Aviv team.You may not know the name Aulcie Perry, but in Israel, the former basketball center is a legend — like “Michael Jordan and Kareem Abdul-Jabbar rolled into one,” as a sports journalist in the documentary “Aulcie” puts it. Through interviews, archival images and illustrated sequences, the movie, directed by Dani Menkin, offers a treacly biography of the overseas celebrity athlete whose career was ultimately derailed by an addiction to heroin.Born in Newark, N.J., the 6-foot-10 Perry always saw basketball as his calling. Hoop dreams propelled him to the N.B.A., but after he was promptly cut from the Knicks, Perry took a chance: He accepted a spot with Maccabi Tel Aviv. The team proved a solid fit, and Perry led Maccabi to European Champions Cup victories in 1977 and 1981, before drug addiction and a trafficking charge forced him to shelf his remarkable career.
      There is a contagious thrill to the movie’s portrait of its subject’s achievements, especially his whirlwind romance with the Israeli supermodel Tami Ben Ami. But when it comes to Perry’s moments of struggle, “Aulcie” trips up. Schmaltzy music and fuzzy pictures give a hard tug at the heartstrings, and footage of Perry missing shots on an empty court is frequently deployed as a superficial visual metaphor for hardship. The movie also declines to engage with Israel’s evolving politics or culture and where Perry fit in, opting instead for a melodramatic portrait of a star that fell too soon.AulcieNot rated. In English and Hebrew, with subtitles. Running time: 1 hour 15 minutes. In theaters and on virtual cinemas. More