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“In hindsight, you would always do things differently,” said Eddie Howe. In hindsight, there is relatively little Newcastle would change about his 21-month reign. Yet for United fans of a certain vintage, Sunday’s 2-1 loss to Liverpool may have had echoes of the 4-3 defeat in 1996, a great game whose greatness can only be appreciated by one side, with the other left to reflect on the possible cost. It is a point of the season where perceptions alter swiftly. If Newcastle produced the outstanding performance of the opening weekend, thrashing Aston Villa 5-1, suggesting they may be the second best team in the country, two weeks later they find themselves level on points with Wolves and in the bottom half of the table. Newcastle, who only lost one of their first 22 league games last season, have been beaten in two of the first three now. The alternative perspective is to note that they lost the same two fixtures – Manchester City away and Liverpool at home – last season, when they also beat Villa by four goals. Arguably no one had a harder group of their first three games (or four, given they visit Brighton next). In their different ways, City and Liverpool represent the barometers of progress for Newcastle – Pep Guardiola’s side because they are the ultimate, Jurgen Klopp’s side because Newcastle lost twice to them last season – and these results imply there has been insufficient progress to defeat either. The manner of the results, however, ought to irritate a manager, even one – in public, anyway – who is as mild-mannered and measured as Howe. There were two types of missed opportunity: at the Etihad Stadium because City were exhausted, three days after the Super Cup, and at St James’ Park because Liverpool were a man down for an hour, a goal behind for almost as long. In each case, a hard-running Newcastle team failed to make a physical advantage count. They were too timid in Manchester, registering a lone shot on target. They were twice inches from a second goal against Liverpool but still lost their way in the second half; a difficulty breaking down a deep, disciplined 4-4-1 formation prompted the thought that Newcastle may regret missing out on James Maddison, the kind of creator they do not possess. Howe’s blueprint worked spectacularly well last season. The amendment to it this year seems simply to entail more of the same. And yet that created an issue itself. In all three games so far, Anthony Gordon has come off for Harvey Barnes. It speaks to a strategy, to exhaust right-backs with one high-speed runner and then replace him with another. It worked perfectly against Villa, with Barnes coming off the bench to score and assist. It was necessitated at City, with Gordon on the brink of a red card when he went off. Arguably, though, it backfired against Liverpool: Gordon was the game’s outstanding player and Trent Alexander-Arnold presumably relieved to see his fellow Scouser depart. Gordon and Barnes may have a job-share, but it doesn’t mean they have to share the minutes every match. As Klopp’s changes made Liverpool better, Howe’s made Newcastle worse. It highlights a wider issue: Newcastle needed more players, now possess greater strength in depth and Howe has to rotate more. But he also needs to know when not to change: nor did Newcastle benefit from removing Joelinton and Sandro Tonali on Sunday. Meanwhile, Bruno Guimaraes, who has been below par at the start of the campaign, stayed on and gave the ball away for Darwin Nunez’s winner. If substitutions for the sake of it scarcely worked, Newcastle face the challenge of keeping the same chemistry from different combinations of players, particularly when the Champions League starts. And if Newcastle seemed to have covered most bases in their summer recruitment drive, the one gap appeared to be at centre-back, where there was a lack of quality alternatives to Fabian Schar and Sven Botman. And then the Dutchman limped off against Liverpool. No team conceded fewer Premier League goals last year than Newcastle, yet it will be hard to be as frugal with a combination of Schar and either Dan Burn or Jamaal Lascelles; indeed, perhaps Burn could have done better for Nunez’s decider. Their defensive additions this summer have been youthful full-backs, in Lewis Hall and Tino Livramento. Now a club with only two clean sheets in 23 games must determine whether, and if they can afford, to pursue a central defender now. All of which brings a shift in feel after the euphoria the evisceration of Villa generated. Newcastle’s recent failings have come within the context of vast, swift improvement: too unambitious against City, not streetwise enough against Liverpool, not seizing the moment in either game. They can note the precedent from last season, when they were condemned to defeat in injury-time by Liverpool and responded with a 17-game unbeaten run. They have a better pool of players now but they may need better decisions, on and off the pitch, than those taken in the last two matches. Read More Eddie Howe reacts to Newcastle’s dramatic defeat by Liverpool Nunez provides a rescue act and a reminder when Liverpool needed it most Newcastle vs Liverpool LIVE: Premier League result and reaction

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The Los Angeles Dodgers currently occupy first place in the National League West, but it's clear the team isn't as good as in years past. LA is highly-likely to add at the MLB trade deadline. One position that could use an upgrade is third base. And there's a big fish out there to be had.

Cindy Crawford has explained why she posed nude for Playboy magazine in 1988, even after her agents told her not to. The supermodel, 57, reflected on the early days of her career in the new Apple TV+ docuseries, The Super Models, which she appears in alongside fashion icons Naomi Campbell, Linda Evangelista and Christy Turlington. During the second episode of the show, Crawford noted that, after becoming the face of Revlon in the 80s, “things started really happening,” as she was “doing the right campaigns”. However, she claimed that when she was asked to appear on the cover of Playboy in 1988, some of her peers and agents advised her against it. “Everyone in my life at the time thought I shouldn’t do Playboy,” she said. “My modelling agency didn’t feel that that fit into the types of jobs I should be doing. I think the brand still had a connotation to it that maybe scared some people off.” Crawford said she knew why her agency was hesitant about on the gig, given how different it was from jobs she’d had before. “I understood the platform of Playboy and what that symbolised,” she explained. “It was definitely outside the normal trajectory for a Vogue model at the time.” She went on to specify that a famous fashion photographer, the late Herb Ritts, was the one who reached out to her about the project. After she recalled that she and Ritts were “really good friends” and that she “worked with” him a lot and previously “stayed at his house,” she shared another reason why she wanted to pose for Playboy. “I don’t know, there was just something about it that intrigued me. So against the advice of my agents, I said ‘yes,’” Crawford said, before describing the conditions she brought up to the maagazine when taking on the job. “But I said: ‘You don’t need to pay me a lot of money. As long as I can have control of the images, and I wanted the right to kill the story if I don’t like it,’” she recalled telling the publication. Crawford noted that when she did the photoshoot for Playboy, she and Ritts “combined it with another trip that [they] were doing for French Vogue to Hawaii”. And, according to the supermodel, the two photoshoots weren’t all that different from each other. “We’d shoot a picture for French Vogue and then we’d shoot a picture for Playboy,” she said. “I mean, you almost couldn’t tell which pictures were for French Vogue and which pictures were for Playboy, it was very organic and I loved them.” The actor concluded by noting that, despite what other people may think, it was ultimately her decision to pose for Playboy, and she did not feel pressured into it. “That’s the whole thing for me is, even if I make choices that other people disagree with or don’t like, if they’re my decisions and I have control of it, that’s empowering to me,” she said. “Even if it’s doing Playboy. I never felt like a victim of that decision.” This isn’t Crawford’s first time opening up about posing for the magazine. During an interview with Net-a-Porter’s PorterEdit in 2019, she acknowledged that she didn’t have any regrets about being photographed nude for the publication twice, as she also appeared in a 1998 Playboy spread. “I look back at some of my old Playboy pictures and I think: ‘Why wasn’t I walking around naked all the time?’” she said. “I’m not getting younger. So I want to celebrate who I am today.” She also opened up about posing nude in her fifties, and shared the candid reason why she did so in photographer Russell James’ book, Angels. “Part of the reason I wanted to do it was that I thought, at what age is being naked not beautiful anymore? Is there a sell-by date on us?” the model said. “I don’t look the same as I did at 20, 30 or even 40. If we take care of ourselves, why not? Am I frolicking on the beach in a string bikini? No.” Crawford continued to explain how, to her, posing nude showcases a type of beauty that isn’t typically shown in her other photoshoots. “But there is a place where I want to feel beautiful naked, in my private life, with my husband. [Russell] was tapping into that real place – not high heels, not a lot of makeup, not coy, just a real woman who doesn’t have clothes on,” she said. Read More Cindy Crawford candidly speaks about her marriage to Richard Gere 30 years later Voguewashing London Fashion Week won’t pay the wages of Britain’s young fashion designers Groping, abuse and racism: 10 of the most shocking revelations from The Super Models TV show

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