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Reflections on the World Cup: The bitter and the swee

Tarif Abboushi
Jul 13, 2010 | 5:24 pm

One month and sixty-four matches later, the South African vuvuzelas that gave us the signature B-flat bee-swarm blare of the nineteenth FIFA World Cup have fallen silent. The stadia are empty, the crowds no more. But long after the face paint that emblazoned radiant hues of thirty-two nations’ flags on cheeks old and young has been scrubbed off, after all the matching dyed wigs have been discarded and the patriotic costumes packed, aficionados of the world’s most popular sporting event are left with a bittersweet aftertaste.

Sweet: It was poignantly gratifying that the bookend matches were played in Soweto to a home crowd as passionate about their national team, the Bafana Bafana (a Zulu term that translates endearingly as “the boys”), as it was colorblind. Nelson Mandela graced both occasions, the first in spirit only, due to a personal tragedy on the day, the last in person, albeit briefly.

Sweet: The exuberance of the hosts. South Africa’s team sang and danced their way to all of their matches, exhibiting a refreshing immunity to the nerves afflicting every other squad from the get-go. There was unbridled joy when the boys opened the scoring with an exquisitely struck volley by the lyrically-named Siphiwe Tshabalala, the first World Cup goal on African soil fittingly of such a high standard that it remains one of the best of the tournament.

Sweet: The personal triumph of Uruguayan talisman Diego Forlan, winner of the Golden Ball award for the tournament’s best player. Forlan inspired his team all the way to the semi-finals, but his own inspiration is his sister Alejandra, left paralyzed at the age of seventeen by a car accident. As she lay in a hospital bed the twelve-year-old Diego promised her he would find fame and fortune as a soccer player so he could get her the best doctors in the world.

Sweet: Plucky New Zealand. Minnows in the world of international soccer, reached the competition by winning a playoff against fellow minnows Bahrain, then outperformed defending champions Italy and went home unbeaten.

Sweet: The way all of Africa pulled together behind Ghana, the continent’s sole representative in the quarterfinals. Seeking to become the first African country to reach a World Cup semifinal, Ghana deployed its youthful vigor against Uruguay, leading to one of the most dramatic climaxes to any World Cup quarterfinal ever, which will be remembered for …

Bitter: Apart from its historical implications, Uruguay striker Luis Suarez’s instinctive goal-line handball to prevent a certain match-winning Ghanaian goal in the last minute of extra time raises an interesting question: Can an instinctive reaction also be deemed an intentional one? If so, the subsequent vilification of Suarez by the African fans and press is justified. If not, his red card and the awarding of a penalty to Ghana was a misapplication of the rules, because a handball is only a punishable offense if it is intentional. Regardless, the outcome of the match demonstrated that for some infractions, the rules more effectively punish the offender than compensate the victim. No such provision exists in the laws of the game, but under the circumstances awarding a penalty goal to Ghana would not have been a miscarriage of justice.

Bitter: The integrity of the game is diminished when fairness is compromised. More so when the cause defies logic. The laws of the game are set not by FIFA (French acronym for the International Federation of Association Football, the international governing body of the sport), but IFAB, the International Football Association Board, which is comprised of eight members, one representing each of the United Kingdom’s four pioneering football associations (English, Scottish, Welsh and Northern Irish), and four representatives from FIFA. Rules changes require approval by at least six votes, so while FIFA approval is necessary, FIFA alone cannot change the laws of the game. The octet has its work cut out for it at its next meeting. Several high profile incidents cast a spotlight on either the rules themselves or the way they are (or sometimes aren’t) enforced. Much acrimony was directed at the referees, but the blame lies on the lapels of the suits around the IFAB board table. The referees are human and, like the rest of us, can make an incorrect call when watching fast-paced action in real time, particularly as it relates to whether the entirety of the ball has crossed the goal line (prerequisite for GOOOOOOOOAL!) and whether or not a strike should be disallowed for an offside, or other, infringement. The USA, England and Mexico all suffered infuriating injustices. Technology, in the form of instant replay, can address the game’s most glaring structural deficiency and ensure fairness, if only at the level of the sport where its use is warranted. The IFAB can and must learn from the NFL.

Bitter: The fake histrionics of some players when they are fouled, and sometimes when they aren’t. No names necessary. If you watched the matches, you know who they are.

Bitter: The bone-crunching over-aggression that some players – some teams – used as the foundation of their game. In the final, the sport’s quadrennial showpiece, Dutch midfielder Nigel De Jong executed a brutal studs-up stomp on the sternum of his Spanish counterpart Xavi Alonso. Referee Howard Webb should have sent De Jong off, but likely didn’t want to deprive the global audience of an eleven-a-side contest so early in the match. It was a classic damned-if-you-do-damned-if-you-don’t decision.

Bittersweet: FIFA’s Say No to Racism campaign is well-meaning but meaningless unless the federation puts its teeth where its mouth is and rescinds the membership of countries who practice legal or institutional discrimination.

Sweetest of all: In the end, the best team won. To become the first nation to win the championship after losing its first match, the Spaniards stuck to what they do best, mellifluous passing, clean artistry, and just enough goals at the right times to prevail.

The party may be over, but most of the Iberian Peninsula will dance through the changes of many a season to come. Four years hence, the lenses of the world will turn to Rio and the anticipated home field-driven resurgence of Brazil’s Samba Soccer. Until then, in the hope that FIFA acts appropriately, here’s tipping a Stetson to the rightful reign of Spain’s Flamenco Football.



On Mon, Jul 12, 2010 at 12:49 PM, Tarif Abboushi wrote:
Hi Cliff,

Yes, I read David Theis' piece after I sent mine to Lonnie and I agree the overlaps between the two make mine redundant.

I'll try to mak

unspecified
news/entertainment

Movie Review

Supergirl fails to take flight in a movie weighed down by grief

Alex Bentley
Jun 26, 2026 | 3:15 pm
Milly Alcock in Supergirl
Photo courtesy of DC Studios and Warner Bros. Pictures
Milly Alcock in Supergirl.

Last year's Superman reboot brought a renewed sense of optimism for, if not the concept of the comic book movie, then at least the DC Comics universe. After more than a decade of DC films that felt mostly creatively bankrupt, the leadership of James Gunn gave the story a sense of fun. That included the brief introduction of Kara Zor-El, aka Supergirl, who’s now getting her own showcase in, naturally, Supergirl.

When we first met her in Superman, Supergirl was in rough shape, arriving at the Fortress of Solitude visibly inebriated. Nothing has changed at the beginning of this film, save for her aimlessly traveling around the universe with her rambunctious dog, Krypto. One of her random stops puts her in the same bar as Ruthye (Eve Ridley), who is looking for help tracking down Krem (Matthias Schoenaerts) and a group known as the Brigands after they brutally murdered her family.

Kara is initially loath to offer aid, but when Krem shoots a poison dart into Krypto while escaping, her motivation goes way up, especially since Krem holds the antidote. Kara, with Ruthye doggedly following her, uses every means available to her to find Krem, a journey that is hampered by galaxies having different colored suns than the one that gives her powers, the yellow sun.

Directed by Craig Gillespie and written by Ana Nogueira, the film is a big step back in the fun category, not least because Supergirl is deep in her feelings for much of the film. Her personal trauma, which is detailed in occasional flashbacks, gives a reason for her depression, but fails to land fully. The story seems to want everyone to be sad, as it includes a child trafficking ring and multiple instances of families being murdered.

Milly Alcock and Krypto in Supergirl Milly Alcock and Krypto in Supergirl.Photo courtesy of Warner Bros. Pictures

To try to counteract that downer material, the filmmakers give Supergirl many opportunities to show off her fighting skills. While still CGI-heavy, the action scenes contain enough of a semblance of reality that they feel exciting. Unfortunately, this is undercut by the inclusion of several slow-motion sequences, giving the impression that the filmmakers didn’t trust the actors to deliver the goods on a consistent basis.

Superman (David Corenswet) makes a handful of appearances in the film, and while his presence is welcome given how well the character came across in the previous movie, it also doesn’t allow Supergirl to become her own person. Almost everything she does is colored by either her cousin or her parents, and since her powers are identical to those of Superman, there is very little that makes her story unique aside from how she’s dealing with the fallout.

Alcock (House of the Dragon, Sirens) gives an appealing performance despite her character being drunk and/or moody most of the time. She definitely sells what Supergirl is going through, so if given a better story in a future film, she’s proven her capability. Schoenaerts makes for a pretty good villain, although he’s aided by a look that includes a face full of studs. Jason Momoa has a memorable supporting role as the bounty hunter Lobo, even if his character doesn’t add much to the story.

While not a full-on disaster, Supergirl does not continue the momentum that Superman started. With a story that’s more concerned with showing audiences death scenes than a hero saving people, the film doesn’t seem to understand the appeal of a character like Supergirl or how to make her someone audiences will return to over and over again.

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Supergirl is now playing in theaters.

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