Inter Milan is sharp despite Lautaro Martinez being left behind: The Dybala-Lukaku duo is the focus

 Seeing the potential of Inter Milan's attacking line next season despite losing Lautaro Martinez, where the Nerazzurri squad will still remain sharp with the Dybala-Lukaku duo being the focus.

The potential of Inter Milan's attacking line next season despite the loss of Lautaro Martinez, where the Nerazzurri squad will still remain sharp with the Dybala-Lukaku duo.

In order to increase the player's spending money, Italian League club Inter Milan is said to be ready to sell their two pillar players, Lautaro Martinez and Denzel Dumfries.

The gossip was leaked by Calciomercato. According to the leading Italian media, the Nerazzurri are tightening the club's financial belts.

Inter Milan can still sign new players, but in exchange they have to release a number of pillar players including Lautaro Martinez.

Although Lautaro has just signed a contract extension, Inter Milan did not rule out selling the Argentine player.

If there is a club that redeems Lautaro at 70 million euros, it is believed that the Nerazzurri will not think long about letting him go.

The decision to release Lautaro Martinez was actually quite surprising. The reason is, the former Racing Club player is Inter Milan's pedestal in scoring goals in the last two seasons.

Even this season, Lautaro Martinez was able to become the answer to Inter Milan's front line after Romelu Lukaku left with a score of 16 goals from 39 in all competitions.

Although it would be a big loss if Lautaro Martinez was officially sold, the striker's departure could actually open the door for other star players.

In fact, it is predicted that the Nerazzurri's attack line will be sharper with the arrival of a number of new players after the successful sale of Lautaro Martinez.

Dybala Perfect Substitute

For information, Inter Milan is indeed open to any team who wants to bring in Lautaro Martinez with a minimum dowry of 70 million euros.

Later, the money from the sale will be used to bring in a number of new stars, one of which is Paulo Dybala, who will be on a free transfer this summer.

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Even though they are free transfers, Inter Milan still has to release a number of players so that Dybala's salary can be paid by the club.

One of the Argentinian media, TYC Sports, said that Inter Milan would soon meet Paulo Dybala to discuss a potential transfer in June.

Inter Milan's chances of getting Paulo Dybala are also quite large, because the current Nerazzurri CEO, Beppe Marotta, is the one who brought Dybala from Palermo to Juventus in 2015.

Even though it's been six years, Beppe Marotta is still pretty sure he can make Dybala move to Inter Milan.

If it is successful to bring in Paulo Dybala, of course it will be a big advantage for Inter Milan even though they have to lose Lautaro Martinez.

The reason is, the 28-year-old player has far more mental experience in the Italian League, even being able to win a number of titles, surpassing the achievements of Lautaro Martinez.

Recorded from 283 matches with Juventus, the former player from Palermo was able to score 113 goals and provide 48 assists in all competitions.

In addition, Paulo Dybala was also an important part of Juventus in winning five Serie A titles, four Coppa Italias, three Supercoppa Italiana winners and one Champions League runner-up.

With these statistics, Inter Milan doesn't seem to have to worry if Lautaro Martinez leaves, but the condition is that they must successfully bring in Paulo Dybala as a replacement.

Lukaku the Perfection

By selling Lautaro Martinez, it means that Inter Milan have fresh funds to bring in star players.

Apart from Dybala who can be brought in for free, Martinez's sales funds can be used to attract other star strikers, including Lukaku, who really wants to return to Inter Milan.

In an interview a few months ago, Lukaku admitted that he wanted to return to Inter Milan. He was also 'whining' to Chelsea so that he was sold as possible.

Although there has been no official statement from Inter Milan, the arrival of Romelu Lukaku will be very difficult to refuse if you look at his statistics before leaving for Chelsea.

During his time for Inter Milan, the Belgian player was able to score 64 goals and provide 16 assists from a total of 95 matches in all competitions.

Lukaku was also one of the important pillars in helping Inter Milan win the Italian League title last season.

Armed with the experience and impressive statistics of Paulo Dybala with Juventus, plus the sharpness of Lukaku who had become the focus of Inter Milan, the duo is predicted to be a frightening specter for the opposing defense in Serie A.

If it fails to bring in Lukaku, the sharpness of Inter Milan's attack line is actually still dangerous because La Beneamata's management also wants to bring in Sassuolo's goal machine, Gianluca Scamacca.

Gianluca Scamacca's statistics with Sassuolo this season are not too bad either,from a total of 28 matches in Serie A, he managed to record 13 goals.

Only one goal difference from Lautaro Martinez. So the arrival of Gianluca Scamacca can also be the perfect replacement for El Toro.

Coupled with the duo of Paulo Dybala as a second striker, it seems that Inter Milan will again become a strong candidate for the Italian League champions next season if their transfer plan goes well.

Source link: https://articlepedia.xyz/inter-milan-is-sharp-despite-lautaro-martinez/

‘The Girl From Plainville’ reimagines the true crime it depicts. Mostly, it works

 In “The Girl From Plainville,” premiering Tuesday on Hulu, Elle Fanning plays Michelle Carter, who became infamous in 2015 when she was indicted on a charge of involuntary manslaughter for encouraging her boyfriend, Conrad Roy III (Colton Ryan), to kill himself. The ensuing trial (historical fact spoiler alert), which found Carter convicted, was national news, covered in well-researched magazine pieces and barely informed social media posts. It’s also the subject of the 2019 two-part HBO documentary “I Love You, Now Die: The Commonwealth vs. Michelle Carter” and the 2018 Lifetime movie “Conrad & Michelle: If Words Could Kill.” She seemed easy to hate, at the time, at a glance.

Michelle and Conrad, called Coco by his family, met in real life on vacation in Florida; they lived not terribly far from each other in Massachusetts but conducted their subsequent relationship remotely, mainly through texts, a flurry of words out of which they built a disastrous bubble. It was these texts, which demonstrated Conrad’s determination to kill himself and Michelle’s to help or make — that is the question — him do it, that constituted the bulk of the case. And it was a text from Michelle to a friend confessing (or claiming) that it was her fault that Conrad died that led to her conviction: In the midst of gassing himself in a truck in a Kmart parking lot, he got scared and got out, Michelle wrote, and she told him to get back in.

Created by Liz Hannah (“The Post”) and Patrick Macmanus (“Dr. Death”), with Lisa Cholodenko (“Unbelievable”) directing the first two episodes, the new miniseries is thoughtful and intelligent. Like most such series in the Hook ‘Em and Hold ‘Em streaming era, it is, at eight episodes, longer than it needs to be, but individual scenes are well written and well played, with a minimum of filler. The tone is neither sensationalistic nor judgmental. It looks good. It touches the main factual bases, with customary adjustments for narrative convenience. (For some reason, Michelle is represented as 18 at the time of Conrad’s death, when she was a year younger.) If some of its dramatic contrivances raise questions, or feel a little ridiculous, it’s not hard to understand the thinking behind them.

Notably, text exchanges between Conrad and Michelle are enacted by the characters face to face — in one another’s bedrooms, on a country road at night against a chorus of crickets, on a pier and so on. (We soon glean from context clues that they are not actually together.) It’s a sensible alternative to forcing the viewer to read the texts, or having them read in voice-over, and it allows the actors to bring emotional context and dramatic shape to exchanges; it lets “The Girl From Plainville” be a love story rather than a crime story. It makes a case different from what one might have read in the news.

Artistically, there’s nothing wrong with this — it comprises a kind of epistolary play, like “Love Letters,” within the play. And interpretation is part of the process. There are many ways to play Romeo and Juliet; whatever instructions Shakespeare left to posterity must be gleaned from the text itself. As history, however, “Plainville” is inescapably a Hollywood miniseries, refracted through the writers, the directors, the actors and all down the creative line. It is no better than partially true, as much as it might be essentially true.

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The series, which encompasses the police investigation, trial preparation and courtroom scenes, moves forward on dual tracks: one beginning with Conrad and Michelle’s meeting, the other progressing from the discovery of his body. They join up in the end in an episode that does not stint on poetic license, or a few stylish flourishes to suggest Conrad’s state of mind on his final day: slow motion, shallow focus, sunlight, scenes of nature.

Given that the end is established in the beginning, there is a sense that we are waiting, a long time, for things to come to a head. To the extent we invest in the characters, we are less interested in the outcomes than in blame — not the story, but the story behind the story, which we can’t actually know but have to decide for ourselves. Conrad and Michelle were, after all, in important respects, mysteries to their own families, and even if we have not necessarily been diagnosed with depression and social anxiety ourselves, or contemplated suicide, we have all been teenagers and many of us lonely teenagers, for a spell, who might have had trouble envisioning a less painful tomorrow. Adults may have some thoughts about kids these days with their phones and their earbuds, and “The Girl From Plainville” is happy for you to have them.

The show belongs to Fanning, to Chloë Sevigny as Conrad’s mother, Lynn and, to a lesser extent, Ryan, although Conrad’s character is somewhat fixed, inward and opaque; his rarely wavering suicidal intent makes him as much a catalyst as a victim. Sevigny is excellent, worn in different ways before and after her son’s death, handling him with care but not kid gloves in life, more sorrowful than vengeful afterward. She never does too much. There are plenty of other characters, including Norbert Leo Butz as Conrad’s father and Lynn’s ex-husband (loving, obtuse); Kelly AuCoin as a detective pressing the case; Aya Cash as the prosecuting attorney (ambitious) and Michael Mosley as the defense (hopeful); and various friends and so-called friends and family members. They have their moments, but they are outside the main emotional thrust of the series.

In a nuanced performance, where nuance might easily give way to histrionics, Fanning finds surprising variety in Michelle without making her seem too self-contradictory; indeed, the series is ordered in a manner to make us regard her initially with skepticism and later with a degree of compassion — at first, a manipulative liar, organizing events to her own emotional advantage, and then a person whose relationship with the truth is complicated beyond her ability to understand it, a girl not in control. (She had mental health issues of her own; she had a history of bulimia and cutting herself.) That her reason for encouraging Conrad to end his life was to feel powerful, or to make herself a sympathetic figure and so gain friends, is a simplification “Plainville” manages to avoid. Only in the courtroom scenes, where Michelle remains silent, does Fanning — a good physical match for the woman she’s playing — seem to be working on the surface, aping the video record, imitating rather than embodying.

It is not, as it might be on “Law & Order” or some-such, a look-alike story, absolutely free to embroider, but one that uses the real names of its principal players and their actual words, court transcripts and other on-the-record statements; vlog-ish videos the real Conrad Roy made are re-created down to the facial expressions. At the same time, it is held together by — turned into television by — invented scenes and conversations and even fantasy sequences, including a couple of musical numbers. (Michelle Carter was much affected by the series “Glee.”) TV and the movies play in this sandbox all the time — biopics and docudramas are catnip to producers and actors; they get press, they win awards — but whether they get you nearer to or farther from the truth of the matter is fundamentally impossible to say. They are hypothetical at best, opportunistic at worst.

That doesn’t mean that such speculative drama is useless. It may spark questions to feed the dialogue you are bound to have with any such series — Is this part real? Is that part made up? — which may also become a dialogue with yourself. “Plainville” may get you thinking more generally about responsibility, of media that sells kids death-wrapped images of love, of how ready we are to believe we know what we only think we know. It may at least remind you that, in an age fueled by reductive statements about everything under the sun, nothing human is as simple as it seems.

People Are Getting Spam Text Messages From Their Own Cell Number

 Baffled phone users are receiving spam texts—many of which include links that redirect to Russian news websites—that appear to have been sent from their own cellphones.

The messages are written as though they are from the cell owner's carrier, with a note about their bill and then an offer of a free gift if they click an attached link.

Usually, spam links lead to a form the target is asked to complete to receive their "free gift", which typically asks for their contact and bank details.

But many users duped into tapping on the link supposedly from their own phone report being directed to Russian news websites, sparking fear the scam is part of a propaganda campaign centering on the war in Ukraine.

Some cell users have received scam texts that appear to have been sent by their own number. Pictured: A cellphone owner shows off his Apple iPhone 13 Pro in Lafayette, California, December 2021. Getty Images

Technology news website The Verge wrote about the issue on Monday after reporter Chris Welch, whose carrier is Verizon Wireless, was targeted.

He wrote: "This morning, I received a very blatant spam text offering me 'a little gift' for supposedly paying my phone bill. Normally I'd groan, roll my eyes, and quickly delete such a thing, but there was something different about this particular message: it was spoofed as coming from my own phone number. As best my iPhone could tell, it was a legitimate message from me to myself. Tapping into the sender details took me to my own contact card... These scammers keep getting more sophisticated."

He added: "There's something more disconcerting and invasive about it being linked to your own number."

Although phone users are advised never to click on links that could be spam, the reporter wanted to investigate. He revealed: "The link I received forwarded me to the website of Channel One Russia, a state TV network. Others have reported similar results and say they're redirected to Russian websites when they click the link."

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Spammers have always used "spoofing" of legitimate numbers and companies in a bid to trick phone users, but using the cell owner's own number means it can evade the phone's "filter unknown messages" security features – since it appears to be the safest number you know; your own. In addition, many users may see their number and believe only their carrier would be able to message them using it, making them more likely to believe promises of freebies and click on the links provided.

The White House urged companies last week to encrypt their data because Russia may plan a cyberattack against the United States in response to sanctions imposed on Russia over its invasion of Ukraine.

Many of the unsettled recipients of the spam texts took to social media to warn others or to contact their carriers to complain.

One tweeter, using the handle @jeffNDfan, posted: "So I just got a spam text from my own cell number. I guess this is how the world ends?"

While Joshua Ashcraft tweeting from the handle @joshashcraft13 said: "@Verizon @VerizonSupport So I'm getting spam texts from my own cellphone number now?"

And Twitter user Alex Lanstein blasted the carriers for not using their sophisticated Artificial Intelligence (AI) programs to recognize keywords typically used in scam messages.

He posted a screengrab of the text he received from his own number, which read: "Free Msg: Your bill is paid for March. Thanks, here's a little gift for you." There was a link he was invited to click.

Sending the image to Verizon on Twitter, he wrote: "You folks should be able to detect sms [short message service] spam, spoofing my own vzw [Verizon Wireless] number, that spoofs your own bill pay messages. Doesn't take advanced #ai [artificial intelligence]."

Bennette Misalucha, a Democratic state senator from Hawaii, has become so concerned about spam texts recently, she is asking Congress to step in.

She told local news site KHON2 that while many Americans are aware of "phishing" scam dangers over email, many are unaware the same sorts of risks apply to text messages.

Speaking before allegations of a Russian link to some recent text scams were uncovered, she said: "It's email that we're so used to. We know about phishing, but the text version is one that is most recent. We're not as discriminatory about how we receive it. Our institutions may have our phone numbers and we think, 'Okay, it's okay to click.'"

She added local legislation would not help, saying telecommunications is "more of a federal issue" adding: "So it's really incumbent before Congress. It behooves them to take action because this is getting to be a problem. And not just in Hawaii, but all over the country."

A report by anti-spam app RoboKiller released last month compiled the data on spam texts for 2021. It revealed Americans received 87.8 billion spam text messages – an increase of 58 per cent compared to the year before.

The Federal Trade Commission (FTC) tells consumers there are three ways to deal with an unwanted text message: report it on the messaging app itself, copy the message and forward it to 7726 (SPAM), or report it to the FTC at ReportFraud.ftc.gov.

But it's unclear if that would be helpful in this case, since phone users would effectively be reporting their own phone number as a scam line.

Newsweek has contacted the FTC and the three major carriers in the U.S.—Verizon, AT&T, and T-Mobile—to seek clarification on how exactly customers should respond when it is their own number being used.

Ezra Miller, star of The Flash, arrested in Hawaii for disorderly conduct

 A wise man once said, “At your highest moment, that’s when the devil comes for you.” It was true last night at the Academy and it was also true last night in Hawaii, where the winner of the Oscar for “most cheer-worthy moment,” Ezra Miller, was arrested for disorderly conduct and harassment.

Per authorities (via Variety) the star of The Flash and Fantastic Beasts: The Crimes Of Grindlewald was removed from the karaoke bar where Miller “was allegedly yelling obscenities” and “became agitated when people began singing karaoke.” Police say Miller refused numerous requests from the bar owner to “calm down.” They allegedly “grabbed the microphone from a 23-year-old woman who was mid-song, and [they] later lunged at a 32-year-old man playing darts.”

Miller, again, the star of several DC films, including the much-anticipated and long-delayed Flash, made their $500 bail and was released.

In 2020, Variety reported that Ezra Miller appears in a video in which they choke a woman at a bar in Reykjavik, Iceland. The seven-second video of Miller grabbing “the girl by the throat” and “throwing her to the ground,” went viral—though there were few repercussions. According to reports, Miller allegedly became frustrated by “a group of eager fans, who were ‘quite pushy’” when things escalated.

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More recently, and less controversially, Miller suggested that members of the Ku Klux Klan kill themselves. “This is a message for the Beulaville chapter of the North Carolina Ku Klux Klan,” Miller said in an Instagram video. “Look, if y’all want to die, I suggest just killing yourselves with your own guns. Okay? Otherwise, keep doing exactly what you’re doing right now, and you know what I’m talking about. And then you know, we’ll do it for you.”

Miller’s next film, Fantastic Beasts: The Secrets Of Dumbledore, will premiere in theaters on April 15. The Flash is scheduled for a 2023 release.

Happy Birthday, Lady Gaga!

 Happy Birthday, Lady Gaga! Born on March 28, 1986, in Yonkers, Stefani Joanne Angelina Germanotta aka Lady Gaga is one of the most successful pop stars in the world. She grew up in the city with her parents Cynthia and Joseph Germanotta, with her younger sister Natali. Taking her name from the song Radio Ga-Ga by Queen, Gaga has shown her versatility from being in the film and music industries, with multiple number one hits and nominations to show for it.

Gaga learned how to play the piano at the age of four, and At the age of 11, she was accepted to the Juilliard School in Manhattan but she instead attended a private Catholic school in the city. She wrote her first piano ballad at 13, and at age 14 she had her first performance at a New York nightclub.

Her debut album The Fame and single “Just Dance” received both popular and commercial acclaim, and “Just Dance” was nominated for a Grammy Award. Although it didn’t win, it reached number one on the charts. The second single off of the album “Poker Face” went to the top of the charts in every category and country in 2009.

In 2010, she released her album Fame Monster, then in 2011 released yet another critically acclaimed album Born This Way. In 2013, she released another album titled Artpop. One of the highlights of her career thus far was working with Tony Bennett on the jazz album Cheek To Cheek. The album won a Grammy for Best Traditional Pop Vocal Album. She performed at Super Bowl 50 in 2016. Also in 2016, Gaga released her fifth studio album, Joanne, her fourth number one album in the United States.

In 2017, she announced she had signed for a Las Vegas residency. She performed two separate shows over 27 dates: Lady Gaga Enigma, a collection of her most popular songs, and Lady Gaga Jazz & Piano, which had stripped-down versions of her greatest hits. In 2020, she released her sixth studio album Chromatica, which hit high on the charts, and had the number one single “Rain On Me” with Ariana Grande.

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For films and TV shows, she has done a lot. In 2016, she earned a Golden Globe for her portrayal of The Countess in American Horror Story: Hotel. Also in 2016, she was cast to play Ally in A Star Is Born, which grossed an impressive $400 million globally. She and her co-star Bradley Cooper received Golden Globe, Grammy and Oscar win for their duet song “Shallow.” In 2021, she played Patrizia Reggiani in House of Gucci and has won the New York Film Critics Circle Award for Best Actress.

Lady Gaga proves she is not done yet in her outstanding career, and she continues to deliver number one hits and be who she truly is, a star.

A year without Sarah: memory, loss and the pain of Mother’s Day emails

 For some of the bereaved, the torrent of promotional Mother’s Day emails at this time of year is more upsetting than the day itself. This is certainly the case for Kristian Glynn, whose wife, the accomplished journalist Sarah Hughes, died of cancer last April aged 48.

“Those messages are relentless,” he tells me, as he and their two teenage children approach the first anniversary of her death.

Mother’s Day was never a big event inside their home and this year Glynn has no formal plans to mark the moment. Instead, with Ruby, 15, and Oisin, 13, he will have the sort of regular Sunday that Hughes always enjoyed. “Her beloved ritual was to have a big meal and a moment of peace with all the newspapers in front of her – and then to chuck all the finished sections into the middle of the room,” he says.

Of much greater significance will be the joyful launch at the end of this month of the book Hughes was writing when she died. Holding Tight, Letting Go: My Life, Death and all the Madness in Between is a collection of her essays that has since been completed by writers and colleagues who were close to the author.

Hughes’ own powerful writing about dealing with sickness in lockdown, and an earlier piece about enduring two stillbirths are both included, as is a passionate defence of “trashy” fiction and a celebration of the joys of fashion, even when she was in poor health.

One particular passage, in an essay by Hughes about memory, closely echoes Glynn’s sentiments about Mother’s Day. Parents, she writes, should not be idolised by their children, even in death: “It is important that they do not see me as Saint Mum, the dead angel in heaven, but rather that they remember me in all my imperfections. Throwing shoes, shouting, losing my temper at just the wrong moment. Loving them fiercely, too, reading to them, checking their homework, making sure that, despite everything they feel wanted and adored.”

Elsewhere she writes about how difficult it proved to find the promised consolation in some of the standard, admired texts about death. A book such as Joan Didion’s The Year of Magical Thinking didn’t work for her, Hughes confesses. The problem was it was her who was leaving. Touchingly, she recalls idly wondering in the past which of her friends would not make it to old age. Now the answer was obvious.

In Glynn’s own chapter, a fond note that closes the book, he argues it was his late wife’s “great empathy that made her the writer she was”. And contributed chapters from friends and colleagues make it plain just how integral she was to their happiness.

Another of Hughes’ key characteristics, an immense appetite for everything that interested her, also beams out from the pages. Among her enthusiasms were Tottenham Hotspur, horse racing, the books of Daphne du Maurier and the television series Game of Thrones.

“If she loved something she really went in to bat for it,” says Glynn. “It was a kind of a stream of consciousness when she got going. I can hear her voice when I read the book.”

It was as a television writer for the Guardian that Hughes built up an extraordinarily large community of fans, although her work for this Sunday newspaper stretched back to the early 2000s, when she helped put together the sports pages.

When we speak Glynn has just returned from Cheltenham races, once an annual outing for the couple. He had fun, he says, but knew it would be different. “There’s lots of things I’m still doing that I’d have done with Sarah. I know they’re never going to be the same.

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“With Cheltenham it didn’t matter if it was the two of us, or if we met friends there, we always knew we would have a great time.”

Glynn, whose family are from Donegal, Ireland, met Hughes in London through their love of sport, but his grownup job, detecting money laundering and conducting due diligence on business clients, soon took them to New York, where Hughes began her freelance writing career. Travel remained important to both of them, even once they had a family.

“Holidays were one of our big things. Last half-term I went to Berlin with the kids. If Sarah had been there as well she would’ve known exactly where to go. She just had that lust for life and knowledge,” he says. “Our honeymoon was in Russia and she turned up there with a pile of Dostoevsky; all the Russian classics. She always had a book nearby.”

Had Hughes lived, Glynn thinks she would have tried her hand at her beloved historical fiction. “There would certainly have been billowing cloaks,” he jokes.

He and the children will continue to do the things Hughes loved, he says. “You get up and you go on, but you don’t forget. People tell me the anniversary next month will be hard, but really it’s hard every day. As I sometimes say to the kids, though, the worst has already happened. She can’t die again.”

It was important for Hughes’ book to be published, Glynn says, not simply because she wanted it, but because he knew it would help others. “I knew from the response to things she’d written in the Observer just how beneficial it could be for people.”

The published book, as Glynn suggests, is full of Hughes’ life force. And it presents her “scars and all”, as there is a clear-eyed, unfiltered chapter about the marks left on her body by injury and surgery.

As a naughty schoolgirl in Edinburgh she had fallen on the cobbles and later knocked her head on a lamp-post celebrating Euro 96. Later came caesarean sections and a mastectomy. Her skin provided, she writes, “a living map of all that I have been through”.

Hughes’ journalism, then her body, and now her book are testament to a life packed with adventure and misadventure. She achieved and felt more than enough for one lifetime, but that does not make dying young any fairer.

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Vintage Villanova? Maybe Not. Does It Matter?

 This Wildcats team may not be as talented as Jay Wright’s two championship squads. But they proved their worth in a hard-nosed win that puts them back in the Final Four.

SAN ANTONIO – Villanova guard Collin Gillespie grabbed the final rebound and sprinted across the court at the AT&T Center. He threw the ball toward the ceiling and unleashed a medieval scream. Anyone who caught that moment, brief as it was, would never have believed that Villanova and its Super Senior guard had just won a game so ugly, and so bruising, that it left a mark—several, really—that could be felt next week in New Orleans.

The contrast was evident immediately, the gulf between what Villanova had accomplished and how much it had cost them made painfully clear. While fans waved signs that read WE BELIEVE and the Wildcats’ mascot hopped on the back of a male cheerleader, the ladder taken out for net cutting remained empty, as did the makeshift stage set up for the celebration.

Instead, Gillespie beelined for a teammate. Most Wildcats gathered in a corner near their cheering section. They were surrounded by photographers, security guards and team officials, everyone huddled around guard Justin Moore, who had fallen late in the second half and was unable to rise without assistance. Armchair doctors across the country wondered if Moore had torn his right Achilles tendon, lowering the championship hopes of a team with shallow depth and an already hobbled captain in Gillespie.

Villanova (30–7) players wore championship hats as they checked on their fallen comrade, the juxtaposition striking, still. On any other night, with any other ending, the celebration would have been not just heightened but justified. This is a program that’s 20–3 in its last six NCAA tournaments, the mere three losses in five previous NCAAs owing to a pair of national titles, won in 2016 and ’18. This is a team that doesn’t feature an NBA lottery pick, that wasn’t a powerhouse all season (like Arizona, the region’s top seed) and wasn’t a trendy analytics darling (like Houston, the fifth seed and the Wildcats’ opponent Saturday night). While pundits questioned Villanova’s depth and the talent in its rotation, the Wildcats did what they have done all season. They won, moved forward and proved a lot of people wrong.

An obvious question lingered afterward: at what cost?

Jay Wright understandably wanted to save next week for, well, next week. He spoke, instead, of the pride that bubbled as he watched his team—playing a “true road game,” discounted, the Cougars’ late run, the Wildcats’ composure, the big shots. To Wright, Saturday spoke to a veteran roster, guys “who have been in the moment before.” No, he would not apologize for making another Final Four. He didn’t have to. “It feels great, man,” he said. “Never gets old. It’s the ultimate.”

Reality hit quickly, in the form of a question. How was Moore? An x-ray revealed no broken bones, Wright said, adding that an MRI will be performed when the team arrives back in Pennsylvania. “Probably not good,” Wright said, smile fading.

Before the injury, before tip-off even, Villanova jogged on court under the strangest circumstances. The Wildcats were the higher seed (No. 2), the more experienced team and the program with two national titles in the last six seasons. They were also underdogs against a lower seed with younger players, and, after watching Houston dismantle Arizona late Thursday, it wasn’t that difficult to see why

Houston had athletes, a veteran coach in Kelvin Sampson, played suffocating defense and displayed efficiency on both ends of the floor—the exact kind of makeup that portends a championship season. Despite losing three starters from last year’s Final Four team, then losing both its top scorer (Marcus Sasser) and its most talented Cougar (Tramon Mark) before Christmas, this Houston team wowed. When the Cougars knocked out Arizona on the same night Gonzaga lost, they became KenPom’s highest rated team left in the tournament. They said they didn’t pay attention to such rankings, but how, then, did they know about them?

Perhaps the expanding bandwagon had a point. But Villanova seemed to present its own matchup problems, and those were being overlooked. The Wildcats were balanced, if not deep; they also led the country in free-throw percentage, their 82.6 percent on pace to set a Division I men’s record, and Houston fouled a lot. Villanova didn’t mind the tortoise pace the Cougars force opponents into; the Wildcats preferred slow, steady and stealth. Maybe Villanova could out-Houston the Cougars. Maybe.

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A version of a home-state crowd filed into the arena to find out. During warmups, a group of Houston players gathered near the sideline to goof off and block each other’s shots. They laughed whenever someone swatted one. They certainly seemed loose, and they knew the crowd would roar behind them.

The Cougars won the tip, and, right away, a contest that lacked artistry—for anyone who’s not really into bruises—began the only way it could have: with a thud. The game came with its own soundtrack: the thwack of bodies colliding, the crash of players spilling to the hardwood like a pileup on the interstate, the grunts of large athletes trying to move other larger athletes and more than a few short cries in pain. Anyone who closed their eyes and just listened might have wondered if they had been transported from an arena to a horror movie.