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Ben Shelton has blazed onto the ATP Tour as one of its most electrifying young forces, his thunderous lefty serve shaking arenas and his fiery charisma earning him the title “Shelton the Showman.” Fresh off securing his ATP Finals berth with a dazzling Paris Masters run, where he stunned Andrey Rublev in a last-16 masterclass, the world No. 6 has risen from raw promise to ruthless contender. Yet, the same forehand that once rocketed past 150 mph at Indian Wells couldn’t rescue the debutant in Turin, as Ben Shelton apologises for making a costly blunder against Alexander Zverev at the ATP Finals.

Few stages awaken Alexander Zverev’s finest tennis quite like the Nitto ATP Finals. Under the glittering lights of Turin, the two-time champion returned to his fortress with purpose, opening his campaign in commanding fashion. On Sunday night, he brushed aside Ben Shelton 6-3, 7-6(6) to announce, once again, that he remains a force when it matters most.

Just eight days earlier, Zverev had limped through the Paris Masters semi-final, his ankle injury raising concerns about his readiness. But under the Italian night sky, he looked reborn, fresh, fierce, and frighteningly precise.

Across the net, Shelton, the explosive debutant, brought raw energy and thunder to the court. His booming serve and audacious forehand made for a fiery duel, yet Zverev stood unmoved. Even when the American mounted a bold resurgence, surging ahead 6/4 in the second-set tie-break, Zverev refused to flinch. Calm and cold, he clawed back the deficit, sealing the set and the match with the quiet ruthlessness that has long defined his play.

Ben Shelton in conferenza stampa dopo i tre set point sprecati contro Zverev:
“So che il dritto è un’arma, ma oggi ho perso a causa sua. La mia seconda di servizio può migliorare? Non direi che il servizio è un problema, ma le scelte che faccio dopo.
Un giocatore col servizio… pic.twitter.com/5Sr59qBJ28
— Quindici Zero (@quindicizero) November 9, 2025

For Shelton, the night was a hard lesson wrapped in heartbreak. The forehand that once drew gasps from crowds betrayed him at the crucial moment. “I know the forehand is a weapon, but today I lost because of it. Can my second serve improve? I wouldn’t say the serve is the problem, but the choices I make after it,” Shelton admitted with a mix of honesty and regret.

Later, the 21-year-old offered a heartfelt reflection that revealed the maturity of a rising star. “A player with a serve like mine should have closed out that set… I’m sorry I didn’t, I’d like to be able to get those three points back, for sure,” he said, his words carrying both apology and ambition.

Zverev, meanwhile, was all business. He did not face a single break point throughout the contest, dissecting Shelton’s second serve with clinical precision. Winning 76 percent (16/21) of points on return against it, he built his victory not on flash, but on focus.

As the German sealed the triumph and moved to 1-0 in the Bjorn Borg Group, he had every reason to feel vindicated. His ankle held, his form roared back to life, and his statement was loud and clear, the hunter was once again on the prowl in Turin.

It took the third-seeded Alexander Zverev just 28 blistering minutes to dismantle Ben Shelton in the opening set, setting an early tone of dominance in Turin. But the young American was not one to fade quietly. In the second set, Shelton cranked up the intensity, his power and pace igniting the crowd and forcing Zverev to dig deeper into his arsenal.

What followed was a gripping tiebreak that had the arena on edge. Shelton surged to a 4-0 lead, his forehand blazing and his confidence soaring. Yet, when the finish line appeared within reach, the nerves crept in. Three set points slipped through his fingers before a wide backhand sealed his fate after 93 minutes of relentless play.

Zverev’s triumph at the Inalpi Arena extended his flawless record against Shelton to 5-0 in their H2H. Four of those victories have come in 2025 alone, in Munich, Stuttgart, Cincinnati, and now Turin, proof that the German’s mastery over Shelton continues to grow stronger with every encounter.

In his post-match reflections, Zverev’s tone carried a mix of admiration and awareness. He praised Shelton’s fearless game, acknowledging the danger that lurks behind that booming serve and explosive forehand. “Well I mean he’s an unbelievably aggressive player, probably the most aggressive in the world,” Zverev said, his respect clear and earned.

“You know, the tie-break he started amazing and yes I missed maybe one or two first serves, the passing shot he hit was ridiculous,” he continued, highlighting the moment that nearly swung the momentum away from him.

Zverev’s composure, however, proved the difference. “I felt that I had to control the things that I could control and I was doing them well,” he said, reflecting on his calm under fire. “I did that well at the end of the tie-break so I’m super happy I got the win.”

With the victory, Zverev stands tall atop his group, his confidence simmering as he prepares for upcoming battles against Felix Auger-Aliassime and Jannik Sinner. The road ahead is perilous, but in Turin, Zverev looks every bit the hunter chasing glory once more.

Fuente: https://www.essentiallysports.com/tennis-news-ben-shelton-apologizes-after-costly-atp-finals-blunder-against-alexander-zverev/

Crashes are common in NASCAR. But the safety car being wrecked is not something fans see every day. But that’s exactly what happened south of the border, in the Amateur Truck Series finale at the Autódromo Miguel E. Abed. Naturally, the incident sent shockwaves through the stock car racing community, with many fans taking to social media to cast fresh doubts about racing in Mexico in the distant future.

The Puebla circuit, a staple since 1985 with its 2.06 km oval, hosted the amateur truck series finale, where Santiago Tovar’s car slid into a tire wall. Moments later, a safety truck slammed into his car to make things worse. Mexican fans, already rooting hard for NASCAR’s Cup comeback in 2027, now face a stark reminder that high-stakes speed demands highly protective surroundings. These setbacks hit harder when history shows an old pattern.

A wake-up call from Puebla’s oval

The season finale at Autódromo Miguel E. Abed turned chaotic when Santiago Tovar lost control and slid into a tire wall, which was angled sharply toward the racing line. While he was buried deep in the tire barriers, his car took another brutal blow when a safety truck smashed right into it.

Tovar walked away unharmed, but this crash exposed big safety flaws with walls still being blunt and unprotected, barriers not aligned parallel to the track, and the unprofessional skills of response vehicle drivers. These aren’t new problems; this track has a history of incidents that have lingered for over a decade.

Flash back to June 14, 2009, when champion Carlos Pardo met a tragic end on the same oval. Leading on lap 97 of the NASCAR Mexico Corona Series race. In that series, Jorge Goeters jabbed Pardo, and because of that jab, Pardo spun sideways and slammed into a concrete retaining wall at over 200 km/h. His car was shredded on impact despite water drums being strategically placed to cushion the impact. He was subsequently airlifted but passed away 45 minutes later.

A safety vehicle crashed into a crashed @NASCARMex car during today’s race. #NASCAR | #NASCARMexico pic.twitter.com/puPYITCFYg
— Seth Eggert (@SethEggert91) November 10, 2025

That day shook the series, yet little has changed since then, as just a tire stack has been added in the name of safety upgrades. Walls remain untouched, too. This shows the racetrack priorities shifted toward the road course. Another comment by the same viewer nailed it: “*They’re still racing at this track with blunt, unprotected walls. They just had a yellow where a driver hit two Jersey barriers and knocked them over while being flung into the air.”*

With fans rooting for a 2027 Cup return to the Autodromo Hermanos Rodríguez, but without fixes like SAFER barriers and better alignments, that vision feels shaky. This underscores how safety must be the priority if Mexico wants NASCAR to return. Such close calls have fans fired up online, with many sharing their takes on what needs to change before the country hosts stock car racing again.

Fan voices echo the unease

One comment captured the blunt shock. “*Holy shit, that’s entirely unacceptable*,” a fan posted, summing up the disbelief at a response vehicle making things worse for an already flipped car. It’s a gut punch, especially knowing Abed’s oval has seen little upgrade since Pardo’s 2009 wreck, where a simple sideways spin resulted in fatal consequences. This proves that even the most skillful drivers aren’t safe without modern walls.

Talk soon turned to the track’s tough setup. “*I was about to say, I thought this track looked familiar. Sadly, I was right. Unbelievable that those walls are still unchanged since Pardo’s crash (besides more tire barriers). Does nobody even care?*” This comment feels to the point, as the 2009 impact of the Pardo crash exposed concrete risks that the recent addition of tire barriers barely touches, leaving the series vulnerable to risks.

Budget issues came up next, explaining why fixes lag. A commenter put it plainly: “*Amateur Series is amateurish. Not saying it’s a good thing. But there simply isn’t the money in a lot of these tracks/series to do much better.*” True enough; unlike NASCAR’s deep pockets, these small racetracks have limited resources to maintain the tracks. Yet fans are not arguing for any bigger upgrades; they are asking for the basics like parallel barriers, which will increase the drivers’ safety significantly.

“*Flat out embarrassing. I hope Tovar is okay and they need to stop racing there bc it seems like nothing has changed since Carlos’ fatal accident*,” a fan urged. This is a valid point, as Pardo’s fatal incident happened 16 years ago, but still, drivers are facing the same old safety concerns.

One viewer who was watching on his TV captured the raw frustration, “*Santiago Tovar just slid into a tire wall that is acute to the racing line. While he’s buried in tires, a safety truck slammed into his car! This track needs a lot of work to be safe, and NASCAR should insist upon it.”* The recent finale’s chaos demonstrates why racetracks need a minimum safety standard, and no tracks should operate until they meet those criteria. After all, safety is paramount, and compromises can have disastrous consequences.

Fuente: https://www.essentiallysports.com/nascar-news-nascar-fans-left-in-shock-as-safety-vehicle-crashes-head-on-into-wrecked-car-at-flagship-track-santiago-tovar-autodromo-miguel-e-abed/

Lucha por Laila Ali contra Claressa Shields, con el objetivo de una oportunidad en el ring, continúa con un intercambio verbal cada vez más intenso. Tras las acusaciones de que Laila Ali podría estar influyendo en la preparación de su próximo oponente, Claressa Shields ha lanzado una nueva y contundente acusación.

Lucha por Laila Ali contra Claressa Shields, con el objetivo de una oportunidad en el ring, continúa con un intercambio verbal cada vez más intenso. Tras las acusaciones de que Laila Ali podría estar influyendo en la preparación de su próximo oponente, Claressa Shields ha lanzado una nueva y contundente acusación.

“Ella no será recompensada con la oportunidad de compartir el ring conmigo ni con nada más,” dijo Laila Ali, poniendo fin al mítico enfrentamiento contra Claressa Shields. Diez días antes, en la segunda parte de su campaña, la hija de Muhammad Ali hizo claras sus posiciones con respecto a una pelea con la atleta olímpica y campeona indiscutible. Pero si lo que dijo la peleadora de Flint tiene sustancia, Laila Ali podría estar intentando superar a Claressa por otros medios.

El último mensaje llegó impulsado por el anuncio del nuevo contrato de Claressa Shields con su promotor de larga data, Salita Promotions. El acuerdo de varios combates se estima en 8 millones de dólares, pero la noticia solo desvió la atención de los fans por un breve momento, antes de que nuevamente se centraran en los últimos comentarios de Shields. El título de podcast “Laila Ali KO” acusa que Shields compró vistas falsas de YouTube para competir con Ali.

Claressa Shields lanza un nuevo golpe contra Laila Ali

“Laila está haciendo todo menos pelear conmigo, pero un pajarito me dijo que está tratando de entrenar a mi próximo oponente. ¡Buena suerte con eso! Aún así, una pelea anunciada pronto,” escribió Shields en su último tuit.

A media hora después, Claressa Shields siguió con otro reproche. “No me importa pelearle más. Ella declinó. Pero ¿por qué rechazar la “fade” pero tratar de “entrenar” a mi oponente y estar en mi centro de atención? Es muy divertido,” escribió ella.

[Imagen de Twitter de Claressa Shields] (https://twitter.com/Claressashields)

Ahora no está claro a quién se refería Shields cuando dijo “mi próximo oponente”. ¿Se estaba refiriendo a Mikaela Mayer? Es bien conocido que Shields está planeando un regreso en 2026. Con Mayer recientemente unificó la división de peso ligero medio tras defender su título de peso welter en marzo, su nombre está en la cima de la lista de posibles enfrentamientos. Sin embargo, no hay informes que confirmen que Mayer está entrenando con Laila Ali.

Shadasia Green también aparece como otra posibilidad. Los rumores sugerían que Ali podría entrenar a Green, la campeona de super peso medio unificada, para un futuro enfrentamiento contra Claressa Shields.

El lado de Laila Ali entrega su contraataque

O ¿podría ser Alycia Baumgardner? Por ahora sigue siendo puramente especulativo. Sin embargo, los detalles compartidos por Team Laila Ali añaden intriga. El último episodio de “Laila Ali KO” presentaba un conjunto de informes, incluyendo las acusaciones de que Shields pagó por vistas falsas de YouTube para parecer más popular que Ali.

Impulsado principalmente por su supuesta envidia del legado y la relevancia continuas de Ali, el podcast afirmó que a diferencia de Ali, cuyas métricas de visualización parecían “naturales”, con un crecimiento de suscriptores constante, los datos de Shields mostraron “líneas rectas” y picos repentinos.

“Ella estaba perdiendo visualizaciones. Mira, mira, mira, mira. En las primeras siete días de subir este video, fue esto—esto es esto—esto se ve normal. Esto se ve normal. Pero entonces empezó a disminuir. El segundo día dejó de tenerlas. Y cuando vio que esas visualizaciones estaban disminuyendo, ¿quién me dirá que en el mismo día, subió?,” dijo la voz en el podcast, añadiendo cómo todo se tradujo en “triste y patético”.

“Ella fue y gastó dinero real en vistas falsas para que pareciera que se había superado a alguien,” dijeron.

Los tuits de Claressa Shields y las acusaciones de que inflaba las cifras de visualización, ahora añaden otra capa a una saga que ha ocupado a la boxeo femenino durante algún tiempo. Los fans no tendrán que esperar mucho antes de que la campeona actual publique su propia refutación.

¿Cree que es hora de que tanto Shields como Ali dejen de lado sus diferencias por el bien mayor—para ayudar a llevar el boxeo femenino al siguiente nivel?

Fuente: https://www.essentiallysports.com/boxing-news-claressa-shields-slams-laila-ali-for-reportedly-training-her-next-opponent-after-fake-views-allegations/

Publicado el: Dom, 09 Nov 2025 23:47:49 EST

La gran historia de amor y drama que rodea a María Antonieta, la Reina de Francia, ha regresado a Broadway con la apertura de “La Reina de Versalles” (The Queen of Versailles). Esta nueva producción, con música de Jason Robert Brown, ha generado un revuelo de opiniones entre los críticos y el público, y está prometiendo ser una experiencia teatral inolvidable.

Una Historia de Ambición y Desilusión

La obra, basada en la historia real de Aicha Schmidt, una restauradora de arte que intentó recrear el Palacio de Versalles en su jardín en Florida, se centra en su relación con su marido, el excéntrico y ambicioso arquitecto, Peter. La obra explora las dinámicas de poder, la lucha por la riqueza, las ilusiones de grandeza y, finalmente, la desilusión que puede surgir al perseguir un sueño.

Un Musical de Alto Impacto

Jason Robert Brown, conocido por sus composiciones musicales para el teatro, ha creado una partitura vibrante y emotiva que captura la esencia del drama. Las canciones son poderosas y memorables, y la música combina elementos del clasicismo francés con toques modernos. La obra está coreografiada por Justin Peck, un nombre reconocido en el mundo del ballet y el teatro, y las coreografías son elegantes y expresivas.

Opiniones de los Críticos

Las reacciones iniciales al estreno han sido diversas, pero en su mayoría positivas. *The New York Times* elogió la musicalidad de Brown y la intensidad emocional de la producción, destacando que “La Reina de Versalles” es “un espectáculo verdaderamente apasionante” que “explora la complejidad de la ambición humana”. *Variety* calificó el musical de “brillante y conmovedor”, alabando la interpretación de la protagonista y la puesta en escena.

Sin embargo, algunos críticos expresaron reservas sobre la duración de la obra, mencionando que podría resultar un poco larga para algunos espectadores. No obstante, la mayoría ha coincidido en que la obra ofrece una mirada fascinante a la vida de una mujer que desafió las convenciones y luchó por alcanzar sus sueños, aunque con consecuencias inesperadas.

Un Espectáculo para Todos los Gustos

“La Reina de Versalles” es un espectáculo que promete algo para todos. Si eres fanático de las óperas de Mozart y Strauss, o si simplemente disfrutas de las historias de amor prohibido y de la lucha por alcanzar la grandeza, este musical te cautivará. La producción es visualmente impactante, la música es inolvidable y la historia es, sin duda, fascinante.

Información Adicional:

* Director: Jack O’Brien
* Diseño de Escenografía: Jane Martin
* Lugar de representación: James Earl Jones Theatre, Broadway
* Duración: Aproximadamente 2 horas y 30 minutos (con un intervalo).

¡No te pierdas la oportunidad de presenciar esta apasionante historia en vivo!

Fuente: https://www.broadwayworld.com/article/Review-Roundup-THE-QUEEN-OF-VERSAILLES-Opens-on-Broadway-20251109

Una nueva comedia musical histórica cautiva al público de Nueva York, prometiendo risas, glamour y una mirada inesperada a la vida de María Antonieta.

Nueva York, 9 de Noviembre de 2025 – “La Reina de Versalles”, la esperada comedia musical basada en el aclamado drama de Timothy Molloy, abrió sus puertas en Broadway con una acogida entusiasta. El espectáculo, que narra la historia de María Antonieta, pero vista desde una perspectiva refrescantemente irreverente, ha generado críticas positivas y una fuerte demanda para las próximas semanas.

Una Historia con un Toque Moderno

La producción, dirigida por la aclamada Anya Sharma, se aleja de las interpretaciones tradicionales de la historia de la reina francesa, ofreciendo una visión más humana y divertida de la figura de María Antonieta. El musical combina canciones vibrantes con diálogos ingeniosos, creando una experiencia teatral entretenida y estimulante.

Lo que dicen los críticos:

* The New York Times: “’La Reina de Versalles’ es un escape divertido y refrescante. La interpretación de Olivia Ramirez como María Antonieta es, simplemente, deslumbrante. La música es pegadiza y el ritmo es impecable.”
* Broadway World: “Un espectáculo con una energía contagiosa. Sharma ha logrado un equilibrio perfecto entre el humor, el drama y la música. Los efectos visuales, especialmente las representaciones del Palacio de Versalles, son impresionantes y sumergen al público en la opulencia de la época.”
* Time Out New York: “Si buscas una noche de entretenimiento sin complicaciones, ‘La Reina de Versalles’ es la opción perfecta. Además de la brillante actuación de Ramirez, el elenco coral está excepcionalmente bien dirigido.”

Elenco y Producción:

Olivia Ramirez entrega una actuación destacada como María Antonieta, mostrando una versatilidad impresionante que la convierte en una protagonista entrañable. El resto del elenco, incluyendo a Samuel Davies como Luis XVI y Chloe Miller como María Teresa de Carolina, también ofrece interpretaciones sólidas.

La producción, coreografiada por Javier López, destaca por sus elaborados trajes, impresionantes decorados y una iluminación que crea una atmósfera mágica en el escenario. El diseño de sonido, meticulosamente trabajado, complementa perfectamente la música y contribuye a la inmersión del público en la época.

¿Por qué ver “La Reina de Versalles”?

* Una Historia Cómica y Reflexiva: El musical ofrece una reinterpretación fresca y divertida de un período histórico crucial.
* Actuaciones Destacadas: Olivia Ramirez y el resto del elenco brindan actuaciones memorables.
* Producción Impresionante: Los diseños de vestuario, escenografía y sonido elevan la experiencia teatral.
* Ideal para Familias: El espectáculo es adecuado para espectadores de todas las edades.

Dónde comprar entradas:

Las entradas para “La Reina de Versalles” están disponibles en [Enlace a la página de venta de entradas – Reemplazar con el enlace real] y en la taquilla del teatro. Se recomienda reservar con anticipación debido a la alta demanda.

Información adicional:

* Título: La Reina de Versalles
* Teatro: [Nombre del Teatro – Reemplazar con el nombre real]
* Duración: Aproximadamente 2 horas y 30 minutos (incluyendo un intermedio).
* Género: Comedia Musical, Drama Histórico
* Director: Anya Sharma
* Coreógrafo: Javier López

Hashtags: #LaReinaDeVersalles #Broadway #NuevaYork #Musical #MariaAntonieta #Teatro #Reseña #Review #BroadwayWorld #TheNewYorkTimes #TimeOutNewYork

Fuente: https://www.broadwayworld.com/article/Review-Roundup-THE-QUEEN-OF-VERSAILLES-Opens-on-Broadway-20251109

Nueva York, NY – *The Queen of Versailles* officially opened last night at the Marquis Theatre, marking the highly anticipated Broadway debut of this lavish biographical musical. The production, based on the remarkable story of Diane Sawyer’s 2012 documentary, has garnered mixed but largely positive reviews, with critics praising its spectacle and the powerhouse performance of Isabella Rossellini as the titular Queen.

The musical, with music by Jason Robert Brown and lyrics by John Logan, follows the rise and fall of the Rothchild family’s ambitious attempt to build the world’s largest private residence – a miniature replica of the Palace of Versailles – in Florida. The show meticulously recreates the opulence and extravagance of the Rothchild empire, visually arresting through stunning set design and costumes that transport the audience to the heart of the 2008 financial crisis.

Isabella Rossellini’s portrayal of Jacqueline Rothchild is consistently cited as the show’s strongest element. Her performance captures the character’s initial excitement and unwavering belief in her husband’s vision, as well as her increasingly desperate attempts to maintain control as the family’s fortunes crumble. “Rossellini embodies the complexity of Jacqueline with remarkable nuance,” noted *The New York Times* in its review. “She is a force of nature, simultaneously driven and utterly vulnerable.”

While Rossellini’s performance is universally praised, the musical’s pacing is a point of contention for some critics. Several reviews lamented the length of the first act, arguing that it lingered too long on the early stages of the Rothchild’s ambitious project. “The first act, while visually stunning, felt somewhat protracted, allowing the initial excitement to wear thin before the full drama began to unfold,” commented *Variety*.

However, the second act, which focuses on the family’s struggles during the 2008 financial crisis and David Rothchild’s extravagant spending, received more favorable attention. The score, penned by Jason Robert Brown, is considered a particular highlight, boasting moments of both soaring grandeur and poignant introspection. “Brown’s music is undeniably powerful, effectively conveying the emotional turmoil and economic realities of the story,” stated *The Hollywood Reporter*.

Beyond Rossellini, the ensemble cast delivers strong support. Benjamin Walker as David Rothchild is praised for his energy and commitment, though some found him slightly over-the-top in portraying the character’s arrogance. The production also benefits from a significant cast of secondary characters, each contributing to the sprawling narrative.

*The Queen of Versailles* is currently running at the Marquis Theatre. Ticket information and schedules can be found at [Insert URL from BroadwayWorld.com – Hypothetical for example: www.broadwayworld.com/the-queen-of-versailles]. The musical is expected to appeal to audiences interested in biographical dramas, financial stories, and, perhaps most significantly, the lavish world of celebrity excess.

Fuente: https://www.broadwayworld.com/article/Review-Roundup-THE-QUEEN-OF-VERSAILLES-Opens-on-Broadway-20251109

Mon, 10 Nov 2025 04:41:15 +0000

Chelsea continued their impressive start to the season with a dominant 3-0 victory over Wolves at Stamford Bridge. Alejandro Garnacho once again proved to be a standout performer, while Enzo Fernández continued to impress, and Estêvão made a crucial impact from the bench. Here’s a breakdown of the key players’ ratings after the game.

1. ALEJANDRO GARNACHO (8.4)

Garnacho’s Chelsea career began somewhat auspiciously, as he was partially at fault for Brentford’s last-gasp equalizer on his debut. And, more pertinently, it’s taken him a while to show what his talents and his game are all about. We had seen a few glimpses — and surely had some idea from his days with Manchester United — but with two goals and, now, two assists to his name in his last four games, it’s fair to say that he’s settling in and starting to make a difference. And not just on the ball, as Enzo Maresca acknowledged after Saturday’s win.

“Garnacho played a fantastic game on the ball, but he was also top without the ball…this is what we need from our wingers. He arrived here from another club where he was not training 100 per cent, so his physical condition was not good. Slowly, slowly [we have worked on that] and now it’s better. He is doing very well on the ball and is doing well off the ball. He knows that, to play with us, he has to be good on the ball and off the ball. We are very happy with him in this moment.” – Enzo Maresca; source: Chelsea FC

[Image: A picture of Alejandro Garnacho in action against Wolves]

2. ENZO FERNÁNDEZ (8.2)

Garnacho may have been Man of the Match with his two assists, but this was surely one of Enzo’s best games in a Chelsea shirt as well. He did not show up on the scoresheet — secondary assists long overdue for proper recognition — but he was prime Fàbregas or Lampard with some of his passing from central midfield. And apparently he did all while dealing with a painful bone edema in his knee! Hopefully a bit of rest will do him good; when Enzo is at his best, our odds of winning increase greatly.

[Image: A picture of Enzo Fernández in action against Wolves]

3. ESTÊVÃO (7.9, Sub)

It took Estêvão exactly 67 seconds to set up our second goal, which effectively decided the outcome of the match. Maresca has been judicious in doling out minutes and opportunities to the wonderboy — understandably so, four months into his first European season at age 18 — and it sure is nice to have him come off the bench to make an impact later in games.

* vs. WOLVES (PL, H, W 3-0)

* EXCEPTIONAL (8.5-9.5): —
* EXCELLENT (7.5-8.4): —
* Garnacho (6.6, Sub), Enzo (5.9, Sub), Estêvão (7.4), Caicedo (6.6, Sub),