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      France Fires Corinne Diacre as Coach Only Months Before World Cup

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      Several top players had refused to play for Corinne Diacre, and the divide between the coach and her team “has reached a point of no return,” the federation decided.Corinne Diacre, a veteran coach facing a revolt by several of her best players only months before the Women’s World Cup, was fired Thursday as coach of France’s women’s soccer team. The move upended the preparations of one of the world’s best teams four months before women’s soccer’s showcase championship, but it could open a path for the return of several French stars who had said they would skip the tournament rather than play for Diacre.The French soccer federation announced the change, saying an investigation it had commissioned had revealed “a very significant divide” between Diacre and her team. In recent weeks, at least three French players, including the star defender Wendie Renard, had announced they would skip this year’s World Cup because of concerns about the team’s leadership and atmosphere, an unspoken — but unmistakable — critique of Diacre.The situation inside the team, the federation said Thursday, had deteriorated enough that leaving Diacre in her post was now actively harming France’s chances of success. “This fracture,” the federation said in a statement, “has reached a point of no return.”Diacre’s firing came one day after she had complained that her critics were running a “smear campaign” against her and vowed to remain in charge of the team, and a week after she lost a powerful ally when Noël Le Graët, the powerful president of the French federation who had supported her, resigned after a report that was critical of his own management.Diacre, who in 2014 had become the first woman to coach a professional men’s team in France, had led the women’s team since 2017. She led her team to the quarterfinals of the World Cup on home soil and to the semifinals of the European Championship in England last year. But her tenure also was marked by years of private and public disputes with some of her team’s best players — stars like Eugénie Le Sommer, Amandine Henry and Renard — and repeated complaints about her management style.Known as a taskmaster with no patience for mistakes, dissent or defeat — “What we remember is the final result, and nothing else,” Diacre once said — she was viewed as a cold and ruthless force by some who played for her. She would drop players for not being fit enough, and cut others after they criticized her methods or her tactics. Henry, a star for France’s team for years, said she learned she had been cut from the World Cup roster in 2019 in a phone call from Diacre that lasted “14 or 15 seconds.”Wendie Renard announced last month that she would skip the World Cup; her reasons were widely seen as a rebuke of Diacre’s leadership.Franck Fife/Agence France-Presse — Getty ImagesBut that driving style also had pushed players away, including several key members of Olympique Lyonnais Féminin, France’s dominant women’s team, and its top domestic rival Paris St.-Germain. The goalkeeper Sarah Bouhaddi, for example, has said she will not play for her country while Diacre is in charge, and last month Renard’s decision to skip the World Cup was quickly echoed by two of her teammates, Marie-Antoinette Katoto and Kadidiatou Diani.“It is a sad day,” Renard wrote on social media when she announced she was out of the World Cup, “but necessary to preserve my mental health.”It is unclear if Diacre’s dismissal might lead Renard, or any of the other players who had said they would not play for Diacre, to make themselves available to the national team again.The decision to drop Diacre as coach so soon before the World Cup could upend — or, in the view of Diacre’s critics, rescue — the preparations of one of the favorites in this summer’s championship. France will open the tournament against Jamaica on July 23, and then will play Brazil and Panama to complete the group stage.The team’s next two games, among its final chances to get together before the World Cup kicks off in July, are a set of friendlies against Colombia and Canada in April.France did not name a replacement for Diacre, but it did seem to issue a veiled warning to the team’s players.“The way used by the players to express their criticisms will no longer be acceptable,” the federation statement said, adding that it planned to propose a change in the governance of the women’s team that would introduce new layer of oversight. More

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      Brett Goldstein Faces Life After ‘Ted Lasso’

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      LONDON — A few minutes into coffee last spring, Brett Goldstein wanted to show me something on his phone.I leaned over and saw puppeteers sitting on skateboards while they hid behind a table, rolling into one another in apparent bliss as their hands animated a clowder of felt cats above their heads. For Goldstein this represented a kind of creative ideal, as pure an expression of fun, craft and unbridled glee as any human is likely to encounter.“Imagine this is your actual job,” he said, his breathtaking eyebrows raised in wonder.Goldstein shot this behind-the-scenes video during his time as a guest star on “Sesame Street,” an experience this Emmy-winning, Marvel-starring comic actor and writer still describes as the single best day of his life.The clip is inarguably delightful, but Goldstein hardly has to imagine such a job. As the breakout star of “Ted Lasso,” the hit comedy about a tormented but terminally sunny American coach winning hearts, minds and the occasional football match in England, he is part of an ensemble that brought as much bonhomie, optimism and warmth to the set as Ted himself, played by the show’s mastermind, Jason Sudeikis, brought to the screen.“I will be absolutely devastated when it ends,” Goldstein said last year. “I think we all will.”And now it has ended. Or maybe it hasn’t. What is certain is that the new season of “Ted Lasso,” which starts on Wednesday, will conclude the three-act story the creators conceived in the beginning and there are no plans for more. Whether and how more tales from the Lassoverse arrive is up to Sudeikis, who told me he hadn’t even begun to ponder such things. “It’s been a wonderful labor of love, but a labor nonetheless,” he said.So even if the new season isn’t the end, it represents an end, one that hit Goldstein hard. In a video call last month, he confirmed that while shooting the finale in November, he kept sneaking off to “have a cry.”But even if “Lasso” is over for good, it is also inarguable that Goldstein has made the most of it. Chances are you had never heard of him three years ago, when he was a journeyman performer working on a TV show based on an NBC Sports promo for a service, Apple TV+, that few people had. (Humanity had plenty else to think about in March 2020.)Brett Goldstein, Brendan Hunt and Jason Sudeikis in the third and final season of “Ted Lasso.”Apple TV+But things have moved fast for him since “Ted Lasso” became the pre-eminent feel-good story of the streaming era, both in form — as an underdog sports tale about the importance of kindness — and function, as a surprise hit and career boost for a bunch of lovable, previously unheralded actors who have now amassed 14 Emmy nominations for their performances.None of them have turned “Ted Lasso” into quite the launchpad that Goldstein has. His Roy Kent, a gruff, floridly profane retired player turned coach, was an immediate fan favorite, and Goldstein won Emmys for best supporting actor in a comedy both seasons. He was also one of the show’s writers and parlayed that into a new series: “Shrinking,” a comedy about grief and friendship. Goldstein developed it with Bill Lawrence, another “Lasso” creator, and Jason Segel, who stars along with Harrison Ford. (It is Ford’s first regular TV comedy role.)Thanks to “Shrinking,” which came out in January and was just renewed for another season, you might have encountered Goldstein on “Late Night With Stephen Colbert,” “The Today Show,” “CBS Saturday Morning” or some podcast or another.Thanks to his surprise debut as Hercules — Hercules! — in a post-credits scene in Marvel’s 2022 blockbuster “Thor: Love and Thunder,” you will soon see him everywhere.Brett Goldstein in a scene from “Thor: Love and Thunder.”MarvelNone of this had come out when we met last year. Back then, he was still struggling to make sense of the ways “Ted Lasso” had changed his life after two decades of working in comparative obscurity in London’s theater and comedy trenches. Whatever the hassles of losing his anonymity, he said, they were more than offset by the benefits — the visit to “Sesame Street,” the opportunity to work with a childhood hero like Ford, the chance to work on “Lasso” itself.“I would happily do it for 25 more years,” he said, but that’s out of his hands.What Goldstein can control is what he does with his new Hollywood juice, which currently includes a second season of “Shrinking,” other TV concepts in development and whatever emerges from the whole Hercules thing. (He’s already mastered Marvel’s signature superpower: the non-comment.)No matter how long this window of opportunity stays open, he’s still chasing the same simple thing: a slightly coarser version of what he captured in that “Sesame Street” video.“It’s a bunch of grown people having the time of their [expletive] lives being very, very silly but also creating something that’s meaningful,” Goldstein said. “And it’s [expletive] joyous.”OK, a significantly coarser version. But to understand why, it helps to know a little about how he got here.‘I very much relate to the anger.’Goldstein, 42, grew up in Sutton, England, as a soccer nut by birthright — his father is a Tottenham Hotspur fanatic — who became just as obsessed with performing and movies, spending hours as a boy recreating Indiana Jones stunts in his front yard.Improbably, all of the above contributed to his current circumstances: It was his performing and soccer fandom that led to “Ted Lasso,” and he is now writing lines for Indiana Jones himself in “Shrinking” — lines Ford says while playing a character inspired by Goldstein’s father.But it took Goldstein a few decades to arrive at such an exalted position. After a childhood spent acting in little plays and his own crude horror shorts, he studied film and literature at the University of Warwick. He continued writing and performing through college and beyond, in shorts and “loads of plays at Edinburgh Fringe and off, off, off, off West End,” he said. A short film called “SuperBob,” about a melancholy lo-fi superhero played by a beardless Goldstein, eventually led to a cult feature of the same name.More important, it caught the eye of the casting director for “Derek” (2012-14), Ricky Gervais’s mawkish comedy about a kindly simpleton (played by Gervais) working at a senior care facility. Goldstein played a nice boyfriend. “That was my first proper TV job, and then it was slightly easier,” he said.Along the way he tried standup and it became an abiding obsession — even now he tries to perform several nights a week. “He’s always been the sexy, hunky dude in, like, really tiny comedic circles,” said Phil Dunster, who plays the reformed prima donna Jamie Tartt in “Lasso” and first met Goldstein roughly a decade ago, when he performed in one of Goldstein’s plays. (Dunster remembers being dazzled and intimidated by his eyebrows.)At some point a fan of Goldstein’s standup mentioned him to Lawrence, a creator of network hits like “Spin City” and “Scrubs,” who checked out Goldstein in a failed pilot and was impressed enough to cast him in his own new sitcom in 2017.That one also never made it to air. By then Goldstein was in his late 30s. “I had a sort of epiphany of, ‘I’ve missed my window,’” he said.Then came “Ted Lasso.”“I will be absolutely devastated when it ends,” Brett Goldstein said of “Ted Lasso.” “I think we all will.”Magdalena Wosinska for The New York TimesThe show’s creators, who also included Brendan Hunt and Joe Kelly, wanted some English soccer fans on staff, and Lawrence thought of Goldstein. He was hired as a writer but soon became convinced that he was the person to play the surly, fading pro Roy Kent. As scripting on the first season wrapped up, he made a video of himself performing several Roy scenes and sent it to the creators, stipulating that if he was terrible, all involved would never speak of it again. He was not terrible.It’s a story he has told many times. But it hits different in person, as the gentle fellow in a fitted black T-shirt recounts how he felt a bone-deep connection to the irascible Roy. The face is essentially the same, but the eyes are too friendly and the voice is smooth and mellifluous where Roy’s is a clipped growl.“I get that you would be confused by this,” Goldstein said, setting his coffee cup neatly into its saucer. “But I very much relate to the anger. I used to be very, very miserable and had a quite dark brain, and I’ve worked very hard at changing that. But it’s there.”Lawrence said that “of all the shows I’ve ever done, Brett is one of the top two people in terms of how different he is from his character.” (The other: Ken Jenkins, the friendly actor who played the caustic Dr. Kelso in “Scrubs.”)In some ways the connection between actor and character is clear. Both are prolific swearers, for one thing, and Goldstein lives by the chant that defines his famous alter-ego: He’s here, he’s there, he’s everywhere.Colleagues and friends are stupefied by how much he does. While shooting the first season of “Lasso,” he was also flying to Madrid to shoot “Soulmates,” the sci-fi anthology series he created with Will Bridges. During filming for Season 3, he acted in “Lasso” by day and joined the “Shrinking” writers’ room on video calls by night. He found time to interview comics, actors, filmmakers and friends for his long-running movie podcast, “Films to be Buried With.” He regularly squeezed in standup sets.“I’m not sure when he sleeps,” Dunster said. “But I know he gets it in, because he looks so young.”Goldstein said his workaholism predates his newfound Hollywood clout. “Even when I was doing stuff that no one was watching, I was always working,” he said. “Either I’m mentally unwell, or genuinely this is the thing that gives me purpose and makes me happy.”He acknowledged that both could be true. But then if “Ted Lasso” has taught us anything, it’s that nobody is just one thing.‘We joke our way through this.’“Ted Lasso” is a sprawling comic tapestry woven from characters — a wounded team owner (played by Hannah Waddingham), an insecure publicist (Juno Temple), a spiteful former protégé (Nick Mohammed) — threading their way toward better selves. The new season finds the AFC Richmond squad at its underdoggiest yet, back in England’s mighty Premier League and destined for an uncertain but sure to be uplifting fate.“Shrinking” is more intimate, a show about hard emotions and hanging out that happens to star a screen legend whose presence still astounds everyone. “It’s a year later and I still go, ‘Bloody hell, that’s Harrison Ford,’” Goldstein said.Harrison Ford is one of the stars of “Shrinking,” an Apple TV+ series Goldstein helped create. “It’s a year later and I still go, ‘Bloody hell, that’s Harrison Ford,’” Goldstein said.Apple TV+Ford’s character is an esteemed psychologist who has received a Parkinson’s diagnosis. He was inspired by several real-life figures, including Lawrence’s grandfather, who also had Parkinson’s disease; his father, who has Lewy body dementia; and his old friend from “Spin City,” Michael J. Fox. The character was also based on Goldstein’s father, another Parkinson’s survivor.“Brett and I share this thing with our families that we joke our way through this,” Lawrence said.Goldstein is exceedingly private about his personal life, but his father gave him permission to discuss the link — his reasoning was that he wasn’t ashamed of the condition and couldn’t hide it anyway. “And also,” he told his son, “the fact that I can tell people Harrison Ford is based on me is a pretty cool thing.”Goldstein joked that this gift he has given his father has expanded their conversational canvas by roughly 100 percent: “Football is still all me and my dad talk about,” he said. “That and the fact that he’s Harrison Ford.”The former, at least, is the way it’s always been. “I think that’s why sport exists,” he said. “It’s a way of saying ‘I love you’ while never saying ‘I love you.’”Such Trojan-horsing of human emotion has become Goldstein’s default mode, whether it’s using his podcast guests’ favorite films to get at their real fears and desires, portraying the discomfort of vulnerability via a clenched soccer star, or writing Parkinson’s jokes to work through the painful fact of his parents’ mortality.“Even when I was doing stuff that no one was watching, I was always working,” Goldstein said. “Either I’m mentally unwell, or genuinely this is the thing that gives me purpose and makes me happy.”Magdalena Wosinska for The New York TimesSegel said that Goldstein is always the one on “Shrinking” insisting that no matter how punchy the punch lines, the feelings must be pure and true. This wasn’t surprising, he added, because Goldstein is a Muppets fan.“It sounds like a joke,” said Segel, who as a writer and star of “The Muppets” (2011) does not joke about such things. “But it speaks to a lack of fear around earnest expression of emotion.”Which brings us back to the cat video and Goldstein’s other Muppet-related fascinations. (“The Muppet Christmas Carol” might be his favorite move ever, he said, and he’s been known to perform an abridged version on standup stages.)Those looking for a felt skeleton key to unlock his various idiosyncrasies aren’t likely to find one. But his Muppet affection does offer a glimpse at what motivates him as a performer, creator and workaholic, which is less about opportunities, franchises or scale than the vulnerability and risks of trying to reach someone and the openness required to take it in. The thing he’s always looking for, he told me over and over — to the point that he started apologizing for it — is a bit of human connection in a world that can seem designed to thwart it.“They put up this Muppet and I’m gone,” he said. “But that requires from both of us a leap of faith, like, ‘We’re doing this, and I’m all in and you’re all in.’ And if one of us did not commit to this thing then it’s [expletive] stupid — it’s just a [expletive] felt thing on your hand, and I’m an idiot for talking to it and you’re an idiot for holding it.“Do you know what I mean?” More

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      P.S.G.’s Star System Has Run Its Course

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      Even with Messi, Mbappé and Neymar, the French champion is a Champions League also-ran once again. Is buying local the way forward?Nobody at Paris St.-Germain seemed particularly upset at being knocked out of the Champions League. Christophe Galtier, the coach, made all the right noises, of course. It was a terrible disappointment, he said. A great shame, because this is a competition that really means a lot to the club. Very sad for all concerned.Kylian Mbappé, meanwhile, came across so phlegmatic that he seemed almost detached, as if the whole thing had happened only in the abstract. He had promised that P.S.G. would do the best it could in the Champions League, he said. So it must logically follow that being eliminated by Bayern Munich in the round of 16 was the best it could do. “That is our maximum,” Mbappé said.Certainly, there was none of the fury or frustration that has typically greeted P.S.G.’s shortfalls in this competition over the last decade. None of the club’s executives tried to barge into the referees’ room to complain about a decision. There was no boiling indignation or bubbling sense of injustice. Just as it had on the field, P.S.G. slipped from view without rage or rancor.It would be easy to attribute that meekness to familiarity. After all, failing in the last 16 of the Champions League is kind of what P.S.G. does: Writing in L’Equipe, Vincent Duluc referred to it as the club’s “culture.” It has lost at this stage in eight of the last 10 seasons. It still hurts, of course, but it does not hurt as much, not when you are steeled for the blow.New cast, same ending.Andreas Schaad/Associated PressThere is, though, a kinder diagnosis. After a decade in which they have spent an obscene amount of state-supplied money putting together one of the most expensive, star-spangled squads ever conceived — gathering immense, unchecked political power and dangerously distorting the financial landscape of European soccer in the process — the power brokers at P.S.G. have, belatedly, started to wonder if they are doing this whole thing wrong.The club’s Qatari leaders have realized that what they would call their “squad-building model” has left the club with an unbalanced, ill-fitting sort of a team, one that any manager would struggle to forge into a cogent unit.They have heard the long, consistent complaints from the club’s fans that they cannot identify with a motley collection of superstars, picked up and plucked down with little apparent rhyme or reason beyond how many followers they have on Instagram. And they have, at last, decided to do something about it.There is, within the club, a desire to repurpose the squad this summer so that it has not just a more French flavor, but a more distinctly Parisian one. The French capital has, after all, been the most fertile proving ground in world soccer for years. It has long been absurd that it has had only the dimmest reflection in the city’s only top-flight team, not least because a team stocked with local talent is effectively a shortcut to a genuine identity, one that fans appreciate and cherish.That will mean, as the plan runs, more opportunities for players from the club’s youth system. It was telling that P.S.G. finished Wednesday’s game with two teenage prospects on the field in Munich: defender El Chadaille Bitshiabu and midfielder Warren Zaïre-Emery, neither of whom is old enough to rent a car.El Chadaille Bitshiabu, a 17-year-old defender from the Paris suburbs, made his Champions League debut on Wednesday.Odd Andersen/Agence France-Presse — Getty ImagesBut that kind of reconstruction will also require the club to repatriate some of the prospects who eluded its grasp in the recent past, the players whose successes elsewhere effectively function as an ongoing rebuke of P.S.G.’s failure to make the most of the talent on its doorstep.That will not be a cheap endeavor. Marcus Thuram, the Borussia Mönchengladbach forward, may be out of contract this summer, but his club teammate Manu Koné is not. Neither is Randal Kolo Muani, the France international currently with Eintracht Frankfurt. Koné and Kolo Muani have been identified as prospective recruits for this new-look P.S.G. The club cannot expect a discount for buying local.That is not the only point at which the theory — logically sound though it may be — collides with an unhelpful reality. It is not really possible to “overhaul” a squad, not in the way that the news media presents it, fans understand it and executives tend to mean it.It is all very well that P.S.G. wants to add more Parisian players to its ranks, but what does that mean for the squad that is currently in situ, the one made up of highly decorated internationals on generous, legally enforceable contracts?While it is vaguely feasible that Lionel Messi will take one decision, at least, out of P.S.G.’s hands by electing to move back to Barcelona, or back to Argentina, or by deciding to fill the only gap on his glistening résumé and spend a couple of years being taught the finer points of the game by Phil Neville in Miami. (The fact that P.S.G. would ideally like both to rip up its squad and start again and extend Messi’s contract is an irony the club appears not to have noticed.)Kylian Mbappé, Neymar and Lionel Messi remain, for now, the centerpieces of an imperfect team.Sarah Meyssonnier/ReutersBut while Messi, like Neymar, draws much of the focus, they are not really the problem. Far more complex are their teammates, the ones earning P.S.G. money and playing Champions League soccer who would have to be persuaded to forgo at least one of those things to allow the club to accommodate the reinforcements.How many teams are there, for example, who would both be willing and able to match Marco Verratti’s salary? And how many of those clubs would Marco Verratti actually want to join? Or would P.S.G. find itself with a squad caught between two eras: half-stocked with young Parisian players, restored to the hometown club that scorned them, and half-filled with the remnants of its flawed, futile past?That is the issue, of course, with trying to impose an identity on a team, rather than allowing one to develop organically. And regardless of the provenance of the players, that is precisely what P.S.G. would be trying to do: turn the club, overnight, into a sort of high-status Athletic Bilbao, just as it has spent a decade trying to craft an image of Barcelona-en-Seine.It would not be authentic, not in any real sense. It would simply be an identity that can be assumed for a while and then discarded whenever it is convenient, just as all the others have been. It would, effectively, be nothing but a rebranding. And it is difficult to believe that it would lead to any other destination to the one that P.S.G. knows so well: the one where the disappointment is so familiar that it no longer hurts the way it once did, where defeat is borne not with anger but weary resignation, where everything has to change but nothing really will.Two Bad OptionsPhilippe Diallo said he was left with no choice except to fire France’s coach, Corinne Diacre.Jean-Francois Monier/Agence France-Presse — Getty ImagesCorinne Diacre can take pride, really, in lasting this long. She was, eventually, dismissed from her post as coach of the French women’s team on Thursday. But her position had been untenable for the better part of a year, if not more.Senior players had complained about her methods, her managerial style, her selection choices, her approach to communications — basically anything and everything you could possibly think of — before last summer’s European Championship. An ever-growing number of her squad had publicly refused to represent their country as long as she was in charge.In the end, then, the only surprise was that the French soccer federation, the F.F.F., waited so long. “I was confronted by an unease that had already existed for several years,” said Philippe Diallo, the federation’s interim president. “It is up to me to decide it, but I did so by choosing between two bad options.”In speaking to the players, he said, he had been told of “a difficulty between the coach and a certain number” of the squad. He decided he had no choice but to “follow their recommendation,” not least because there is a World Cup in a few months and France would, presumably, want to have most of its best players available to play in it.But while the strength of the players’ feeling is not in doubt, what lies at the root of it is less clear. Diacre is known to be cold, brusque even. She gives the air, certainly, of being an unforgiving, vaguely old-school sort of a coach. She is not, in the words of one colleague, a “natural communicator.”Those are all flaws, of course, but flaws are not the same as fireable offenses. (There has never been a suggestion of anything more untoward at the heart of the French players’ complaints.) It is not necessarily the coach’s job, after all, to be liked by the players. It is not necessarily in the interests of the federation that the players feel empowered to remove any coach that they do not agree with professionally.Diallo, clearly, felt he had no choice but to remove Diacre in the hope of ending the impasse. He is probably right to worry, though, that the precedent is not an encouraging one. More

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      Former Fox Employee Convicted of Bribery for Soccer Broadcast Deals

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      The employee, Hernán López, and an Argentine marketing firm were accused of helping make illegal payments for rights to tournaments in South America.After hearing seven weeks of often-impenetrable testimony about television contracts, codes of ethics and the interpretation of Spanish phrases in emails sent more than a dozen years ago, a federal jury in Brooklyn on Thursday convicted a former Fox employee and an Argentine sports marketing firm of paying bribes in exchange for lucrative soccer broadcasting contracts.Prosecutors said that Hernán López, who until 2016 worked for a unit of what was then known as 21st Century Fox, had taken part in a complex scheme to make millions of dollars in secret annual payments to the presidents of national soccer federations in order to secure the rights to the Copa Libertadores and the Copa Sudamericana, widely viewed South American soccer tournaments. Full Play Group, the marketing firm, stood accused of similar but far more extensive corruption. Prosecutors said it paid bribes for the rights to World Cup qualifiers, exhibition matches, the Copa América tournament and the Copa Libertadores.The government also argued that López had taken advantage of “loyalty secured through the payment of bribes” to secure inside information that helped Fox beat out ESPN in its bid for the United States broadcasting rights for the 2018 and 2022 men’s World Cups — a theory Fox has vigorously denied. Fox was never accused of any wrongdoing.López, who holds dual American and Argentine citizenship, was convicted on one count of money laundering conspiracy and one count of wire fraud conspiracy and faces up to 40 years in prison. Full Play was convicted on six fraud and money laundering counts and, as a corporation, could face financial penalties.A third defendant, Carlos Martínez, who worked under López at Fox, was acquitted on counts of wire fraud conspiracy and money laundering conspiracy.The convictions represent what Breon S. Peace, the U.S. attorney for the Eastern District of New York, called “a resounding victory” in the Justice Department’s sweeping investigation of corruption in international soccer.After a secret inquiry began in 2010, the case broke into public view in May 2015 when sensational predawn arrests were made in Zurich, the city that FIFA, soccer’s world governing body, calls home. Since then, more than two dozen individuals and entities have voluntarily pleaded guilty to a wide variety of charges, including racketeering and wire fraud. And in 2017, a different federal jury convicted two soccer officials, from Paraguay and Brazil, on wire fraud conspiracy and other charges.Prosecutors indicted López, Martínez and Full Play in March 2020, signaling that the long-running case — which shook FIFA to the core and resulted in a shakeout of several generations of leadership in its ranks — still had legs.“The defendants cheated by bribing soccer officials to act in their own greedy interests rather than in the best interests of the sport,” Peace said in a statement following the verdict. Judge Pamela K. Chen rejected a request from prosecutors that López be taken immediately into custody, instead releasing him with tightened bond restrictions. A sentencing date has not been set.John Gleeson, a lawyer for López, said in a statement that “we are obviously disappointed with the jury’s verdict.”He continued, “The proceedings have involved both legal and factual errors, and we look forward to vindicating our client on appeal.” Lopez, who left Fox in early 2016, went on to found the podcasting company Wondery, which was sold to Amazon in 2020 in a deal that valued the company at a reported $300 million.Carlos Ortiz, a lawyer for Full Play, declined to comment. The company was founded by an Argentine father and son, Hugo and Mariano Jinkis, who were charged in 2015 but were not extradited. A lawyer for Hugo Jinkis said he could not immediately comment on the news.“We are very grateful for the jury’s service,” Steven McCool, Martínez’s lead lawyer, said in a brief call after the verdict. “Carlos received justice today and it was a long time coming.”A watch party in Los Angeles for the 2022 World Cup. Fox had the U.S. English-language rights for last year’s tournament in Qatar and the 2018 tournament in Russia.Mark Abramson for The New York TimesThursday’s verdict came on the fourth day of deliberations after a complex and slow-moving trial. Jurors were presented with reams of contracts, financial spreadsheets and bank transfer statements, as well as expert witnesses who debated whether a particular phrase meant “pay him less” or “pay it less.”At one point, early in the trial, Judge Chen admonished the lead prosecutor, Kaitlin T. Farrell, for reading entire emails about corporate issues into the official record, warning that she risked losing the jury’s attention.And as in the first trial in the case, the government relied particularly heavily on a single star witness: Alejandro Burzaco, the former chief executive of the Argentine sports marketing and TV production firm Torneos, who pleaded guilty in the case in 2015 and has been cooperating with the U.S. government since.Over 11 days of testimony, he described in painstaking and sometimes stultifying detail the esoteric series of shell companies and phony contracts that had been used to pay bribes to soccer officials through a joint venture owned by Torneos and 21st Century Fox. Although he personally arranged the payments, Burzaco said he had informed both López and Martínez about their existence and said that neither executive had done anything to halt them.Burzaco also detailed using a relationship cultivated through bribes paid to Julio Grondona — a FIFA vice president and a longtime president of Argentina’s soccer association who died in 2014 — to gain inside information that helped Fox win the U.S. English-language rights to the 2018 and 2022 World Cups. ESPN had long held that coveted property.Although bidding was supposed to have been blind, Burzaco said he had asked Grondona in late 2011 for help at López’s request. Burzaco testified that Grondona had “told me if Fox puts $400 million, they are going to award it to Fox — tell your friends.” Fox ultimately paid $425 million, and several years later obtained rights to the 2026 World Cup, to be held in the United States, Canada and Mexico.Over howls of protest from defense lawyers, prosecutors called the former ESPN president John Skipper to testify about the incident. “I was disappointed,” he said. “In fact, I was angry.”In a statement after the verdict, a Fox spokesman said, “This case does not involve Fox Corporation, and it was made clear that there was no connection to Fox’s successful World Cup bids.” The company has in the past noted that the unit where López and Martínez worked, Fox International Channels, was spun off in 2019 and that it was a different division, Fox Sports, that was charged with negotiating for those rights.Although both López and Martínez maintained their innocence, claiming they were never aware any bribes had been paid, Full Play took a decidedly different tack. Its lawyers readily admitted that the company had made regular payments to Latin American soccer officials but claimed that those payments had not been bribes but simply the standard way of doing business when it came to South American soccer.Ortiz, the lawyer for Full Play, said in his closing arguments late last week: “You can look at it and, say, hey, do I like this morally? Do I think this is appropriate?” But, he added, “all of these executives and officers acted in a manner and behaved and carried themselves in a manner that sent a clear, strong message that their receipts of payments were totally fine.” More

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      Chelsea Saves the Day; Saving the Season Can Come Later

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      Beating Dortmund in the Champions League will ease the pressure on Graham Potter and his team, but it won’t end the questions about where they are headed.LONDON — Just when Graham Potter needed it most, something may have stirred at Chelsea. All of those disparate, finely tuned parts, the expensively but randomly acquired fruits of the club’s lavish transfer-market abandon, slotted together enough to keep his team’s season alive. And they did so just in the nick of time.Potter, for the last few weeks, has had the air of a manager desperately trying to keep his head above water. Chelsea had won only twice all year. His team had not scored more than one goal in a game since December. First, it had lost ground in the race for a top-four finish in the Premier League, and then it had lost sight of it completely.As a rule, all of that ends only one way for a coach: not just at Chelsea but especially at Chelsea. The club’s fans had not quite turned on Potter, not en masse, but there has been for some time a definite sense that they are thinking about it. The club’s owners, meanwhile, have been assiduous in reiterating their ongoing faith in the 47-year-old Potter, but there comes a point where the frequency of those reassurances is itself reflective of a problem.Potter will know, of course, that edging past a somewhat depleted Borussia Dortmund, 2-0, on Tuesday to qualify for the quarterfinals of the Champions League is not a panacea. It will not make him immune to dark talk of crisis should Chelsea stutter in the Premier League. But it is preferable to the alternative: Winning this game was not conclusive, but losing it might have been.Raheem Sterling’s first-half goal had Chelsea ahead on the night and even over two legs.Hannah Mckay/ReutersIt was fitting, really, that the game, and the round-of-16 tie, hinged on a five-minute period in which nobody actually played any soccer. Chelsea had gone into halftime with the lead on the night and parity restored on aggregate, Raheem Sterling canceling out the advantage Dortmund had established three weeks ago in Germany.The circumstances in which Potter’s team went ahead, though, were not soul-stirring and blood-pumping; they were, instead, strange and disembodied and somehow remote, as if the whole event had been settled by decree elsewhere.It started with a handball from Marius Wolf, the Dortmund right back, one confirmed only after the intervention of the video assistant referee and a long gaze at the pitch-side monitor by the on-field official, Danny Makkelie. The players idled around as they waited to find out their fate.It would get stranger. Once the penalty had been awarded, Kai Havertz missed it, his effort clipping the post with his teammates already celebrating. A moment later, he had a reprieve. Three Dortmund players had encroached into the penalty area as he prepared to take the kick. After another V.A.R. check, Havertz was given another go. He got it right this time.Dortmund players surrounded the referee, Danny Makkelie, after he awarded Chelsea a second try at a missed penalty kick.Adrian Dennis/Agence France-Presse — Getty ImagesStill, it was apt, because even in victory it is not immediately possible to discern a clear, distinct pattern in this Chelsea team. There is nothing, as yet, that marks it out as characteristically Potter’s, no glowing signpost toward the future of this team as he has envisioned it, no particularly idiosyncratic stamp.Perhaps that is inevitable. After all, there has been continual upheaval at Stamford Bridge over the last year, a flood of new players arriving first in the summer and then, more eye-catching still, in January. Potter, it has to be assumed, has approved most of those signings, but fostering and nurturing a coherent team takes time and patience.And it is only natural, given the sheer number of players at his disposal, that Potter has been unable to resist the temptation to cycle through all of his options. As results and performances have waned, rather than waxed, he has tweaked his personnel and his formation and then his personnel again. He has not, yet, hit upon a formula that works reliably, or that he feels confident may work reliably.That can, of course, be a signifier of a creditable versatility, a chameleonic streak that he displayed in his previous job at Brighton and that will stand the club in good stead in the long term. But more immediately it can also betray an uncertainty, a restlessness and a lack of clarity, all of which have a habit of making the long term irrelevant.Nico Schlotterbeck and Dortmund pressed again and again for a goal that might have extended the two-legged tie.Glyn Kirk/Agence France-Presse, via Ikimages/AFP, via Getty ImagesPotter may, in time, come to look back on this game as an educational experience. Maybe the front line of Sterling, Havertz and João Félix does offer the best balance of all the combinations available to him. Certainly, finding a way to empower Chelsea’s two raiding fullbacks, Ben Chilwell and Reece James, should be as much a priority for him as it was for Frank Lampard and Thomas Tuchel.Those notes of cautious optimism, though, will be offset by the fact that Dortmund had Chelsea on the ropes for periods of the first half; with a little more precision and composure, the German team might easily have punished Chelsea for its failure to take control of the game. This was not sweeping, serene progress into the land of Europe’s giants. It was nip and tuck, taut and tense, almost until the end.Still, for Chelsea, that will have to do. For now, at least. Far more important than how the team qualified was that it did so, that for a few more weeks, at least, the impending sense of doom can be lifted just a little, that there remains a purpose in a season that might otherwise have started to drift, that all is not yet lost. For Potter, in particular, that is what matters. It is better, of course, to win in the way you want to win. Until that can happen, though, any type of win will do.Kepa Arrizabalaga and his teammates will learn their quarterfinal opponent next week.Adrian Dennis/Agence France-Presse — Getty Images More

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      Liverpool Fans Will Get Refunds for Champions League Final Tickets

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      European soccer’s governing body will return millions of dollars to fans affected by dangerous overcrowding that its own investigation said could have turned deadly.European soccer’s governing body said Tuesday that it would refund the tickets of thousands of Liverpool fans who attended last season’s Champions League final outside Paris, the latest effort by the organization to make amends for policing and security failures that nearly saw its showcase game take a deadly turn.The governing body, UEFA, said it would offer refunds to the fans “most affected” by scenes of dangerous overcrowding outside the gates of the Stade de France last May 28. The affected tickets include the entire ticket allocation provided to Liverpool for sale to its fans — a block of nearly 20,000 tickets — as well as any fans with tickets to specific gates where the worst of the crushes took place.Last year’s final, the showpiece game of the European soccer season, matched two of the most popular and best-supported teams in the game, Liverpool and Real Madrid. But planning failures led to dangerous scenes in which large crowds of Liverpool fans were herded into narrow areas where, with kickoff approaching and fears in the crowds rising, some were sprayed with tear gas by the French riot police.The tickets eligible for refunds, UEFA said, included Liverpool’s entire allotment of 19,618, but potentially hundreds, or even thousands, of others held by fans affected by the problems at the match.A French Senate investigation last year faulted the authorities for the chaos, calling it a “fiasco” and raising concerns about French policing before this year’s Rugby World Cup and next summer’s Paris Olympic Games. An investigation by UEFA, released last month, was even more direct: Its harshly critical report concluded it was only “a matter of chance” that no fans had died. That report laid the principal blame on UEFA.UEFA officials, and French sports officials, have offered previous apologies to Liverpool and its fans for the overcrowding after initially shifting blame for the problems on “late-arriving” fans. (It also first said people who arrived with fake tickets were to blame, though those claims were later debunked by a check of computer ticketing records.) Liverpool and its fans have taken great offense to those comments; at a recent Champions League game against Real Madrid, the teams’ first meeting on the field since last year’s final, Liverpool fans raised banners that were critical of UEFA and denounced France’s sports minister and interior minister as liars.The UEFA statement announcing the ticket refunds, a tangible and multimillion-dollar effort perhaps aimed at defusing some of those hard feelings, was notable in that it included neither a new apology nor any comment from the organization’s president, Aleksander Ceferin. Instead, one of Ceferin’s top deputies thanked Liverpool fans for their input and said the refund plan was an effort “to recognize the negative experiences of those supporters on the day.”It is unclear how many Liverpool fans will accept UEFA’s offer. Hundreds had threatened to sue for compensation last month, and one of the law firms representing a large group of supporters wrote on Twitter that the offer “is welcome but does not go far enough.”UEFA said refunds would be made available to all fans with tickets for six specific gates of the Stade de France, but also to all fans who ticketing controls showed did not enter the stadium before the scheduled 9 p.m. kickoff, and to any others who were not able to — or chose not to — enter the stadium at all. Liverpool has agreed to handle refunds for fans who bought tickets through the club, an accommodation UEFA said was done for privacy reasons. More

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      Liverpool, Napoli and the Problem With Systems

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      As system clubs start to falter, the future seems to belong to the teams and coaches who are willing to be a little more flexible.There is no such thing as a 4-3-3. The same goes for all those pithy threads of numbers that are hard-wired into soccer’s vernacular, the communal, universal drop-down list of legitimate patterns in which a team might be arrayed: 3-5-2 and 4-2-3-1 and even the fabled, fading 4-4-2. They are familiar, reflexive. But none of them exist. Not really.The way a team lines up to start a game, for example, most likely will bear very little relation to what it looks like during it as players whirl around the field, engaged in what anyone who has not watched a lot of mid-table Premier League soccer might describe as a complex, instinctive ballet.Most teams will adopt one shape when blessed with the ball, and another without it. Increasingly, many will shift their approaches in the course of the game, responding to the lunges, the parries and the ripostes of their opponents.A team presented in a 4-3-3 on a graphic before kickoff might be playing a 3-5-2 while that image is still fresh in the memory. A coach might choose to drop a midfielder between the central defenders to control possession, or push the fullbacks daringly high, or draw a forward a little deeper. The nominal 4-3-3 might, if it all comes off, be more accurately denoted as a 3-1-4-1-1. Sort of. Maybe.And besides, every manager will have a different sense of what each of those formations means. As Thiago Motta, the Bologna coach, has said: a 3-5-2 can be a front-foot, adventurous sort of a system, and a 4-3-3 a cautious, defensive one. How the players are arranged does not, in his view, say very much at all about their intentions.Luciano Spalleti’s aversion to a system is working just fine at Napoli.Armando Babani/EPA, via ShutterstockNone of that is to say that formations are completely meaningless. As a rule, managers tend to scoff at the very mention of them. They assume that hearing any value ascribed to the idea of “formation” is a surefire sign that they are in the helpless company of a slow-witted civilian, or perhaps a child.They are, though, useful shorthands: broad-brush, big-picture guidelines that fans and opponents can use to try to find a pattern in what can look — at first — like unfettered chaos. They are a way of establishing what you think a team might look like once it takes the field, what it might be trying to do, how it might be attempting to win.Or, at least, that is what formations have always been. It may not last. There is a chance, now, that soccer’s great leap forward will render all of those old, comfortable ideas almost entirely moribund.The three decades on either side of the Millennium — the period, in soccer terms, that starts with Arrigo Sacchi’s A.C. Milan and ends with Pep Guardiola’s Manchester City — will, in time, be remembered as the sport’s age of the system, the first time its most coveted talents, its defining figures, have been not players but coaches.On the surface, there may be scant similarity between the tiki-taka that turned Barcelona into the finest club in history and the sturm-und-drang of the energy-drink infused, heavy-metal inflected German pressing game.Underneath, though, they share two crucial characteristics. They are both precisely, almost militaristically choreographed, players moving by rote and by edict in preordained patterns learned and honed in training. And they both rely, essentially, on a conception of soccer as a game defined less by the position of the ball and more by the occupation and creation of space.Fernando Diniz, the coach of the Brazilian side Fluminense, rejects the idea of rigid positions.Sergio Moraes/ReutersSoccer’s history, though, is a process of call and response, of action and reaction. One innovation holds sway for a while — the process happens increasingly quickly — before the competition decodes it and either counteracts or adopts it. Both have the same, blunting effect.And there are, now, the first glimmers of what might follow on the horizon. Across Europe, the system teams are starting to falter. The most obvious case is Jürgen Klopp’s Liverpool, struggling not just with a physical and mental fatigue but a philosophical one, too. Its rivals and peers are now inoculated to its dangers.But there are others: Jesse Marsch’s travails as the manager at Leeds United can be traced in some way to his refusal to bend from what might broadly, and only moderately pompously, be called the “Red Bull School.” Barcelona, its characteristic style now widely copied across the continent, is scratching around with limited success for some new edge. Even Manchester City, where suffering is always relative, seems less imperious than once it did.The future, instead, seems to belong to the teams and coaches who are willing to be a little more flexible and see their role as providing a platform on which their players might extemporize.Real Madrid, of course, has always had that approach, choosing to control specific moments in games rather than the game itself, but it has done so with the rather significant advantage of possessing many of the finest players on earth.Pep Guardiola has some thoughts.Filip Singer/EPA, via ShutterstockThat others, in less rarefied climes, have started to follow that model is much more instructive. Luciano Spalletti’s Napoli, the most captivating team in Europe, is barreling toward the Serie A title thanks to a free-form, virtuosic style that does not deploy the likes of Khvicha Kvaratskhelia and Victor Osimhen as puppets but encourages them to think, to interpret, for themselves.Fernando Diniz, the coach of the Brazilian side Fluminense, has even given it a name: the “apositional style,” placing it in direct (but perhaps not intentional) conflict with the “positional play” that Guardiola and his teams have perfected.Diniz, like Spalletti, does not believe in assigning his players specific positions or roles, but in allowing them to interchange at will, to respond to the exigencies of the game. He is not concerned with the control of specific areas of the field. The only zone that matters to him, and to his team, is the one near the ball.In his eyes, soccer is not a game defined by the occupation of space. It is centered, instead, on the ball: As long as his players are close to it, what theoretical position they play does not matter in the slightest. They do not need to cleave to a specific formation, to a string of numbers coded into their heads.Instead, they are free to go where they wish, where their judgment tells them. If it makes it all but impossible to present a shorthand of how the team plays, then so much the better. After all, systems are designed by coaches with the express purpose of stripping the game of as much spontaneity as possible. Managers want, understandably, to control what a player does in any given circumstance. They crave predictability. They yearn for it.In that environment, it is only natural that unpredictability becomes an edge.Split VoteAlexia Putellas, world player of (some of) the year.Franck Fife/Agence France-Presse — Getty ImagesAlexia Putellas’s year effectively ended last July 5, the day she felt a click in one of her knees during a small-sided training game. A few hours later, she was in the King Edward VII hospital in London, attempting to absorb the news that she had ruptured an anterior cruciate ligament with the European Championship only days away. She would miss the tournament, and at that stage her participation in this summer’s Women’s World Cup was in doubt, too.Putellas is, thankfully, making excellent progress. Her recuperation has gone sufficiently well that she is not only running again, but engaging in what everyone in soccer refers to as “ball work”: the delicate process of ensuring that the repaired connections in her knee can handle the sudden, jarring twists and turns that games will likely demand. Barring any major setbacks, Putellas will feature for Spain at the World Cup that opens in July, and the tournament will be all the better for it.It was hard, though, not to be struck by her election as the best female player on the planet at FIFA’s flashy awards show Monday night in Paris. It would be unfair to suggest that Putellas was an undeserving winner. She is an outstanding player, after all. But at the same time, she had played only half the year. She did not feature in the Euros, the year’s pre-eminent women’s tournament. Her club team, Barcelona, lost the final of the Champions League.The immediate suspicion, where any FIFA award is concerned, is that her victory is a testament to the power of reputation. Both the men’s and the women’s prizes, after all, have had a habit of reverting to the default: The national team coaches and captains, and the international media representatives, generally favor whoever is the most famous, the most high-profile, the safest choice.In the case of Putellas, though, it is likely to be something else. The European champions, England, did not have a single standout player, though a case could be made for Beth Mead, the leading scorer, or Leah Williamson, the captain. Keira Walsh of England was the tournament’s best player, but she is a defensive midfielder, and defensive midfielders do not win awards.Likewise, Lyon’s run to the Champions League title was not inspired by a single individual, as it had been when the goals of Ada Hegerberg powered it to glory in 2019.This year’s field, in other words, was both broad and deep. In that context, both what Putellas achieved — Spanish champion, leading scorer in the Champions League — and what she could not played in her favor: The perception that Spain’s bid for the European Championship fell apart in her absence was supporting evidence for her legitimacy.More Like David AlibiThere comes a point, really, where everyone involved should take a look at their behavior and feel their cheeks flush with shame. There is a level of pettiness that is unavoidable in a rivalry as virulent and intractable as the one shared by Real Madrid and Barcelona. But then there is the controversy that engulfed David Alaba this week, which makes all concerned look like children.Alaba, the Real Madrid defender, is also the captain of the Austrian men’s national team. As such, he was eligible to cast a vote for The Best Men’s Player at FIFA’s sparkling celebration of self-importance. He picked, not unreasonably, Lionel Messi, as did an overwhelming majority of the appointed electorate. (A note, here, for the captain of Gabon and the coach of Botswana, who watched Messi inspire Argentina to the World Cup title and both declared Julián Álvarez the real star of the show.)Only Alaba, though, subsequently had to explain his decision. A Real Madrid player not selecting Karim Benzema, you see, was considered unacceptable not only by Madrid fans on social media but by several Madrid-based news outlets. That he would instead throw his weight behind Messi, so indelibly linked with Barcelona, was beyond the pale.Alaba, to his credit, indulged the nonsense, explaining that the Austrian team voted as a collective and that the majority of the players’ council had favored Messi. He wanted to make it plain that he considered Benzema the “best forward in the world.” Most impressively, he did this all without once mentioning how stupid the whole debate was, or noting that encouraging players to vote politically renders the concept of the award itself completely meaningless.Alaba was perfectly entitled to vote for Messi, whether in consultation with his teammates or not. Benzema would have understood that instantly. He would have been no more offended by Alaba’s selection than he would have been at the sight of France’s captain, Hugo Lloris, and coach, Didier Deschamps, not voting for him either. He is, after all, a grown-up. It is a shame that so many of those commenting appear not to be. 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      Just Fontaine, Record-Setting French Soccer Star, Dies at 89

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      His stellar career was cut short by injury, but he made his mark by scoring 13 goals at the 1958 World Cup.Just Fontaine, the French soccer star who scored a record 13 goals at the 1958 World Cup, died on Wednesday. He was 89.Fontaine’s former club Reims and the French soccer federation announced his death, but did not say where he died or cite a cause.Fontaine took six games to achieve his feat at the 1958 World Cup in Sweden, when he was a last-minute inclusion on the French squad.Entering the tournament, Fontaine, a forward, was little known outside the French league. Yet he tormented opponents with his speed and finishing touch, even though had to borrow a pair of cleats after damaging his own boots in practice.Fontaine scored four goals in the third-place game against West Germany, and he could have had five if he had taken the penalty kick.In addition to his feats with the national team, Fontaine won the French league title four times, won the French Cup and reached the final of the 1959 European Cup during his career with Casablanca, Nice and Reims.The French soccer federation said there would be tributes to Fontaine across France this weekend, with a “minute of homage” that will also be observed on Wednesday before French Cup games at Toulouse, Marseille and Nantes.The highest scorer at a World Cup tournament is now acknowledged with the Golden Boot award. FIFA did not begin presenting that award until after Fontaine set the record.“Beating my record? I don’t think it can ever be done,” Fontaine told The Associated Press in a 2006 interview. “The person who wants to beat me has a massive task, doesn’t he? He has to score two goals per game over seven games.”Playing in the days when no substitutions were allowed, France lost in the semifinals, 5-2, to a Brazil team featuring the 17-year-old Pelé.The men’s record for most goals scored in a World Cup career is 16, by the Germany striker Miroslav Klose, who played in four tournaments. Fontaine, who broke the record of 11 goals scored by the Hungary striker Sandor Kocsis at the 1954 tournament, played in only one World Cup.The Brazil striker Marta has scored 17 goals in five Women’s World Cup tournaments.Fontaine scored 200 goals in 213 games, including 30 goals in 21 games for France. But his career was cut short when he was only 28.Renowned for his lightning pace and ruthless finishing, Fontaine suffered a serious leg fracture after a mistimed tackle in March 1960. He retired as a player just after his 29th birthday. He briefly coached France’s national team before going on to coach Luchon, Paris Saint-Germain, Toulouse and the Moroccan national team.Just Fontaine was born in Marrakesh, Morocco, on Aug. 18, 1933. Information on survivors was not immediately available. More