Tag Archives: spectacularly

Club Sando score six again, jump to TTPFL summit

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Roneil Walcott For the second time in three days, Club Sando scored half a dozen goals as they ran riot against last season’s TT Premier Football (TTPFL) runners-up MIC Central FC Reboot when they got a commanding 6-1 victory in their meeting at the Ato Boldon Stadium in Couva on November 21. On November 19, the Angus Eve-coached Club Sando team were also in a rampant mood as they hammered Terminix La Horquetta Rangers 6-0. Two days later, Club Sando showed that was no fluke as they put five unanswered goals past a lacklustre Central team in the first half before adding one more late in the second to get an easy win. Sando moved to 12 points and are atop the 12-team table on goal difference ahead of Prisons FC (12 points). Attackers Real Gill and Tarik Lee both scored twice in the first half to lead the Sando attack, with the latter putting in another strong showing after his four-goal performance against Rangers. Keron Cornwall and Sando skipper Shervohnez Hamilton grabbed the other goals. The Sando forwards capitalised on several defensive lapses by Central, with Gill opening the scoring in the 17th minute after picking off a loose pass by central defender Jamal Jack. Eight minutes later, Sando’s lead doubled when Cornwall clinically slapped home a left-footed shot from inside the area after great work down the right by midfielder Luke Phillips. Twelve minutes later, the game was put beyond Central’s reach as Lee got his brace while Gill chipped in with the other item. Lee’s first goal came in the 29th minute after Gill pounced on an error in the defensive third by Emmanuel Thomas, while his second came in the 35th minute when goalie Jabari Brice saved a shot from Phillips. Gill’s second came as a result of another Central error, as he made it five in the 37th minute after a cheap giveaway by midfielder Rhondel Gibson. Central played much better in the second half and offered good offensive pressure against a stubborn Sando defence. In the 86th minute, Central finally got on the board when playmaker Daniel David fired in from a tight angle, before Hamilton finished off the scoring at the other end with a sharp left-footer into the bottom corner in the 88th minute after receiving a back heel from Gill on the edge of the box to wrap up the Sando massacre. In the first game of the Couva double-header, it was a tale of two halves as San Juan Jabloteh grabbed a 2-0 halftime lead through striker Malachi Webb before being rattled by a second-half brace from playmaker Keron “Ball Pest” Cummings as they settled for a 2-2 draw with Caledonia AIA. Jabloteh’s two goals came as a result of fabulous hold-up play on the counter-attack from Webb, who opened the scoring with a right-footer in the 17th minute before curling a left-footer into the far corner for his second in the 31st minute. In the 53rd minute, “Cale” got a goal back when Cummings neatly tucked away a penalty, before he spectacularly tied the game up at 2-2 in the 83rd minute with a wicked left-footed volley into the top corner from about 22 yards out. Jabloteh (five points) moved from eighth to seventh, while Caledonia (four points) consolidated ninth spot. TTPFL action was scheduled to continue on November 22 with a pair of matches at Ato Boldon Stadium in Bacolet, Tobago. TTFPL tier one standings: Team*GP*W*D*L*GF*GA*GD*Pts Club Sando*5*4*0*1*15*2*13*12 Prisons*4*4*0*0*9*2*7*12 Police FC*4*2*1*1*9*5*4*7 MIC Central FC*4*2*0*2*7*11*-4*6 Defence Force*3*1*2*0*3*2*1*5 AC Port of Spain*4*1*2*1*4*5*-1*5 Jabloteh*5*1*2*2*7*10*-3*5 Point Fortin*3*1*1*1*4*4*0*4 Caledonia*4*1*1*2*6*7*-1*4 1976 FC Phoenix*4*1*0*3*6*11*-5*3 La Horquetta Rangers*4*1*0*3*3*11*-8*3 Eagles FC*4*0*1*3*2*5*-3*1.
https://newsday.co.tt/2025/11/23/club-sando-score-six-again-jump-to-ttpfl-summit/

Jannik Sinner’s coach Darren Cahill reveals the ‘rare’ gesture Carlos Alcaraz made towards Italian’s box during ATP Finals clash

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Jannik Sinner’s coach, Darren Cahill, heaped praise on Carlos Alcaraz for his sportsmanship and the positive energy he displayed on the court. Cahill expressed that Sinner’s team holds nothing but admiration for the talented Spaniard.

Sinner and Alcaraz faced off in a thrilling final at the ATP Finals, where the Italian star spectacularly defeated his rival to claim his second consecutive title. Coming into the tournament fresh off his Paris Masters triumph, Sinner had reclaimed the No. 1 ranking. Meanwhile, Alcaraz was just shy of regaining the top spot but secured it by defeating Lorenzo Musetti during the ATP Finals group stage.

Despite falling to Sinner in the finals, Alcaraz earned praise from Darren Cahill for spreading smiles and exhibiting exceptional sportsmanship throughout the match. Cahill revealed that he had sent a congratulatory message to Alcaraz after he achieved the World No. 1 ranking.

“Carlos has been incredible in 2025 and certainly the years before. I sent him a congratulations note a couple nights ago when he secured No. 1. He’s an incredible young man. He actually gave us a couple of smiles during the match. Jannik hit a backhand down the line at one point, and he looked over to us with a big smile. It is a pretty rare athlete and competitor that does that. We have nothing but admiration for Carlos,” Cahill shared.

Throughout the year, Alcaraz and Sinner have met multiple times on the court, always battling it out in finals. Both have won two Grand Slams apiece this year: Alcaraz claimed titles at the French Open and the US Open, while Sinner triumphed at the Australian Open and Wimbledon.

The rivalry between the two is marked not only by their dominance on the court but also by the mutual respect and camaraderie they share off it. They consistently acknowledge each other’s strengths, highlighting their integrity as competitors.

After reclaiming the No. 1 ranking, Alcaraz admitted that Sinner was the favorite heading into the ATP Finals, especially given his strong form on indoor courts and the support of his home crowd in Turin.

“Who is the favorite? I mean, the No. 1 means that I’ve been playing really good during the whole season, on all surfaces. He’s playing the best on indoor court. We’re playing in front of his home crowd. I would say he’s the favorite. Don’t want to believe it, but I would say he’s the favorite for tomorrow, I guess,” Alcaraz said during a post-match press conference.

With multiple Grand Slam titles between them, Alcaraz holds a slight edge in total majors, having won two Roland Garros, two Wimbledon, and two US Open titles, compared to Sinner’s two Grand Slam victories.

This ongoing rivalry promises to deliver more exciting tennis and memorable moments as both players continue to push each other to new heights.
https://www.sportskeeda.com/tennis/news-jannik-sinner-s-coach-darren-cahill-reveals-rare-gesture-carlos-alcaraz-made-towards-italian-s-box-atp-finals-clash

Karl Etta Eyong and a new interest from a new Spanish giant!

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Barcelona Emerges as the New Spanish Club Interested in Karl Etta Eyong

A sudden and seismic shift in strategy has rocked the foundations of FC Barcelona, throwing their carefully laid plans for the upcoming season into disarray. What the board believed was a sealed deal for their next attacking recruit has spectacularly unraveled, leaving the club scrambling.

According to reports from Fichajes, manager Hansi Flick has delivered a stunning message to the Barcelona directors: he has vetoed the impending signing of Karl Etta Eyong. This decision represents a dramatic U-turn on a pursuit the club had been aggressively advancing for weeks.

The Levante striker, admired by segments of the staff for his physical power, mobility, and perceived potential as a medium-term project, was seemingly on the cusp of a move to Catalonia. However, the impending departure of Robert Lewandowski has fundamentally altered the calculus.

Flick has drawn a line in the sand, insisting that the void left by a world-class striker cannot be filled by a developmental prospect. This bold intervention from the former Bayern Munich boss has now redirected the entire club’s focus.

The sporting department, led by Deco, is under immense pressure to pivot from a future-oriented plan to an immediate, high-stakes search. Where Etta Eyong symbolized a patient build, Flick has demanded a proven, ready-made center-forward—a player capable of not just competing, but shouldering the immense weight of leading Barcelona’s attack from day one.
https://sports.yahoo.com/article/karl-etta-eyong-interest-spanish-201500008.html

Why Springsteen: Deliver Me From Nowhere Flopped At The Box Office

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With the musician biopic omnipresent in modern Hollywood, it was inevitable that Bruce Springsteen would eventually get his equivalent to “Bohemian Rhapsody” or “Elvis.” Such a project finally materialized with *Springsteen: Deliver Me From Nowhere*, which saw *The Bear* veteran Jeremy Allen White lending his soulful pupils and psychologically frazzled aura to Springsteen as he works to create his 1982 album *Nebraska*.

But any hopes that *Deliver Me From Nowhere* would score an opening weekend anywhere close to the biggest musician biopics in box office history quickly flamed out, thanks to the movie only grossing $8.88 million on opening weekend. That’s the 18th-worst debut in history for a movie playing in 3,400+ theaters domestically. On a $55 million budget, the film has a long way to go before it becomes profitable.

Given Springsteen’s iconic stature and the success of other films like *Elvis*, it’s worth asking why exactly *Springsteen: Deliver Me From Nowhere* crashed so spectacularly at the box office. The reasons include the lack of famous, marketable names in its cast and crew, its downbeat atmosphere, and even the lack of novelty surrounding a movie concerning Bruce Springsteen, among other problems.

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Though on paper this project looked like a financial slam-dunk to Disney/20th Century Studios executives, *Springsteen: Deliver Me From Nowhere* suffered from some severe obstacles in execution that led to it hitting a box office sour note.

In 2009, director Scott Cooper’s *Crazy Heart*, in addition to securing Jeff Bridges an Oscar win, became a solid box office performer for Fox Searchlight Pictures with a $39.47 million domestic haul. Since then, save for *Black Mass*, Cooper’s filmography has solely consisted of features that ended up beneath $30 million domestically.

Since 2017, his only theatrical release before *Deliver Me From Nowhere* was *Antlers*, a 2021 horror title that topped out at $10.61 million domestically. The man’s films have their fair share of devotees, but he’s nowhere near a household name in his box office track record.

The trouble is that *Springsteen: Deliver Me From Nowhere* could have certainly used a well-known filmmaking name to put it on the radar of general audiences. An auteur known for delivering crowdpleasers, like Baz Luhrmann, might have immediately catapulted *Springsteen* into the spotlight.

Instead, Cooper is someone with an erratic box office track record and a mixed history in terms of critical reception. This was a filmmaker who couldn’t be put on the poster or help draw in the Letterboxd crowd.

Granted, in this day and age where even Leonardo DiCaprio can’t instantly score a $35 million+ debut, the failure of *Deliver Me From Nowhere* can’t entirely fall on Cooper’s shoulders. Still, the lack of a more notable director just gave this troubled music biopic one less must-see element to lean on. Residual *Crazy Heart* love wasn’t enough to get people invested in *Springsteen: Deliver Me From Nowhere*.

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Most people, when they go see a concert, want a big experience. They yearn for elaborate choreography from the backup dancers, striking set design, and a sense of bigger-than-life showmanship from the central singer. It’s one thing to sing familiar tunes. It’s another to give people a spectacle they’ll never forget.

Many of the biggest music biopics at the box office deliver that kind of visual razzle-dazzle. *Bohemian Rhapsody* gave audiences plenty of sequences where Freddie Mercury and Queen belted out familiar tunes with lots of energy. *Rocketman* and *Elvis*, meanwhile, deployed stylized maximalism that gave viewers a lot of bang for their buck.

*Springsteen: Deliver Me From Nowhere*, meanwhile, was a more grounded, grim odyssey exploring Bruce Springsteen’s psychological turmoil as he puts together a beloved but musically minimalist album. This more intimate scope helped differentiate *Nowhere* from other music biopics, but also deprived audiences of the sort of grandeur informing *Elvis* and *Rocketman*.

Ads for the biggest music biopics emphasize sweeping scope and the ways iconic singers change history. *Springsteen: Deliver Me From Nowhere*’s trailers, meanwhile, had Jeremy Allen White’s Springsteen wandering through monochromatic, traumatic childhood memories.

In hammering home its downbeat atmosphere, *Springsteen: Deliver Me From Nowhere* ensured it would never be as lucrative as the biggest musician biopics, which prioritize pageantry above all else. Just ask any concertgoer — folks want something to marvel at in addition to hearing well-known hits.

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Bob Dylan is a famously reclusive human being. His music has forever changed American culture, but he’s not on every talk show at least once a year, and he’s not easily accessible through social media activity. Thus, when director James Mangold and leading man Timothée Chalamet delivered *A Complete Unknown* in December 2024, it filled a hole in the marketplace.

In contrast, Bruce Springsteen is everywhere in the modern pop culture landscape. Since 2019 alone, Springsteen’s cinematic exploits have included his music providing the entire plot of *Blinded By The Light*, starring and co-directing in the concert film *Western Stars*, and being the centerpiece of the 2024 Hulu documentary *Road Diary: Bruce Springsteen and The E Street Band*.

If you want to see movies either involving or starring The Boss, you could get your fill pretty easily. *Springsteen: Deliver Me From Nowhere*, then, was a bit of a “hat on a hat” situation. Its straightforward marketing and title suggested to audiences that it was yet another Bruce Springsteen movie without anything unique to make it stand out in a crowded marketplace.

Why should people leave their homes to see this movie when they can access so many other Springsteen-focused films at home? *Deliver Me From Nowhere* never found a good answer to that question and paid the price for it at the box office.

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*Springsteen: Deliver Me From Nowhere* premiered at the Telluride Film Festival on August 29, 2025. Debuting nearly two months before its general release, the hope was for *Nowhere* to pick up steam and acclaim-driven momentum over that time period which could benefit its box office haul.

Instead, mixed reviews greeted the project. While Jeremy Allen White was universally praised for his work, most felt the movie lacked much of a personality or any sense of verve. The sluggish pace of its 119-minute runtime also garnered criticism.

These are not the responses a studio wants for its awards season project, especially one that costs $55 million to make. It’s one thing for a mainstream-skewing effort with a crowdpleasing marketing campaign like *Bob Marley: One Love* to get mixed marks. It’s another for a more somber-looking film like *Springsteen: Deliver Me From Nowhere* to not wow critics, especially in an autumn moviegoing season with plenty of competition for adult moviegoers.

Without a bunch of rave reviews giving it a boost, *Nowhere* just looked even more inessential to the general public. The B+ CinemaScore grade from audiences wasn’t terrible, but it also wasn’t nearly good enough to suggest that a tidal wave of moviegoer enthusiasm might save it in the weeks ahead.

Instead of immediately catapulting it into the Oscar race, that early *Springsteen: Deliver Me From Nowhere* debut just solidified the film’s shrug-worthy (and eventually financially fatal) reception weeks in advance.

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Before *Springsteen: Deliver Me From Nowhere*, Jeremy Strong’s biggest creative endeavor was *Succession*. The series had a sizable cultural impact in terms of inspiring memes and award season wins (including for Strong’s acclaimed performance), but it didn’t have viewership on par with *M*A*S*H* or even *This Is Us*.

Strong, who plays Springsteen’s manager Jon Landau, is still, for most of the general public, not a massive name or a tremendous box office draw. Neither is leading man Jeremy Allen White, despite the success of *The Bear*.

This encapsulated a problem that *Deliver Me From Nowhere* could never quite get over: it didn’t have a big enough cast to get the attention of people who might not otherwise be interested in a Bruce Springsteen movie.

Compare this music biopic to other entries in its genre, like *Walk the Line*, which was headlined by Joaquin Phoenix and Reese Witherspoon at the peak of her fame. *Elvis* featured Tom Hanks playing against type as a portly, smarmy manager. *8 Mile*, meanwhile, had beloved rapper Eminem playing a fictionalized version of himself.

*Nowhere*, in contrast, had a supporting cast rounded out by respected actors like Strong, Paul Walter Hauser, Odessa Young, Stephen Graham, and Harrison Gilbertson. None of them are household names, and were certainly not enough to convince skeptical audience members to give the film a chance.

Leaning on folks like White and Strong deprived *Springsteen: Deliver Me From Nowhere* of the eye-catching casting that has driven the biggest musician biopics.
https://www.looper.com/2011642/why-springsteen-deliver-me-from-nowhere-flopped-box-office/