🆚 The matchups are set, see all the Sula playoff clashes
The draw for the round of 16 of the Copa Libertadores will be held next Monday (2), starting at 12 PM (Brasília time).
But the matchups for the Sudamericana playoffs ARE ALREADY SET without the need for the balls to work.
Advertisement
The regulations indicated that only the first place of each Sudamericana group would secure a direct spot in the round of 16.
Meanwhile, each second place would need to face a team that finished third in their Libertadores group.
And these matchups were defined thanks to the performance of each of the 16 teams.
The team with the best performance among those who finished second in their Sudamericana group would face the worst third place from the Libertadores.
And so on.
Mushuc Runa (ECU), Huracán, Universidad Católica (ECU), Fluminense, Independiente, Godoy Cruz, Lanús, and Cienciano led their respective groups.
Advertisement
And they are just waiting.
📊 The classification of each "pot" is as follows:
Second places in the Sudamericana:
Grêmio - 12 points and four goal difference
Once Caldas - 12 points and two goal difference
Atlético Mineiro - 9 points and five goal difference
Palestino (CHI) - 9 points and zero goal difference
América de Cali - 8 points and two goal difference
Vasco - 8 points and zero goal difference
Guaraní (PAR) - 8 points and minus three goal difference.
Cerro Largo (URU) - 7 points
Third places in the Libertadores:
Central Córdoba - 11 points
Universidad de Chile - 10 points
Independiente del Valle - 8 points
Advertisement
Bahia - 7 points
Bolívar - 6 points and one goal difference
Atlético Bucaramanga (COL) - 6 points and minus four goal difference
San Antônio Bulo Bulo (BOL) - 6 points and minus ten goal difference
Alianza Lima - 5 points
Check out the matchups 👇🏽
The first leg matches are expected to take place between July 15 and 17.
The return matches between July 21 and 24.
The advantage of deciding in front of their home crowd goes to the team that was in the Sudamericana.
And how about the round of 16❓
Next Monday's (2) draw will determine from which matchup the rival of each of the eight teams that led their respective Sudamericana groups will come.
This article was translated into English by Artificial Intelligence. You can read the original version in 🇧🇷 here.
📸 Buda Mendes - 2024 Getty Images
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Buzz Feed
43 minutes ago
- Buzz Feed
Why Millennials Love Subtitles
Fellow millennials, I need to get your honest opinion on something. How do you *really* feel about having the subtitles on when you watch TV? Reddit user Some_Kinda_Username recently posed this same question, and people couldn't help but rave endlessly about how great closed captions are. While I might not be a fan of reading while watching my favorite TV show or movie, others just can't get enough! Here's what they had to say on this polarizing topic: "I love me some subtitles! Warning, though, they are addictive. Once you get used to them, it's nearly impossible, or at least quite infuriating, to watch anything without them." "I was using subtitles before it was cool." "Sound mixing is a lost art. Gotta make sure everyone hears the explosions over the actors advancing the plot by whispering." "I love subtitles! Everyone in my house starts talking the second the shows we want to watch come on. I feel that subtitles are a nice compromise. They talk during the show, but I can still enjoy it by reading the captions. Problem solved!" "Subtitles are real-time spoilers." "My late wife was Romanian, and while her English was perfect and much better than mine (I'm British/Canadian), she always wanted subtitles to help her follow along. Something about her brain's ability to translate speech was more tiring than reading. Now I keep them on by default." "I can't watch anything without subtitles anymore. 😭" "I usually have my kids or wife trying to talk to me at the same time I'm watching anything, so if I want to know what's going on, I have to have them on." "How else am I supposed to hear my show over the crunching of this bowl of cereal I'm eating as my fourth meal?" "My husband got me into the whole 'subtitles or bust' thing, and now my anxiety levels elevate if someone is watching something and there are no subtitles." "I have a household of people, and it helps when they don't want to quiet down." "Having been hard of hearing my whole life, the fact that we now have captions on nearly all streaming media has been a godsend for me." "I want it on, and my wife wants it off. It's a real battle." "90% of the time I watch shows or movies, the kids are asleep. Subtitles are mandatory when playing at a low volume." "I feel like I miss too many things without captions." "It's like lowering the volume on your radio when you're lost driving around. I know I'm not the only one." "I've been using subtitles since the '90s. You can pry them from my cold, dead hands." "But like, why does the TV sound different when the subtitles are off?" OK, now I need to know what you feel about this:
2 hours ago
With the Bayeux Tapestry that tells of their long rivalry, France and Britain are making nice
BAYEUX, France -- For centuries, the storytelling masterpiece has been a source of wonder and fascination. In vivid and gruesome detail, the 70-meter (230-foot) embroidered cloth recounts how a fierce duke from France conquered England in 1066, reshaping British and European history. The Bayeux Tapestry, with its scenes of sword-wielding knights in ferocious combat and King Harold of England's famous death, pierced by an arrow to an eye, has since the 11th century served as a sobering parable of military might, vengeance, betrayal and the complexity of Anglo-French relations, long seeped with blood and rivalry but also affection and cooperation. Now, the medieval forerunner of today's comic strips, commissioned as propaganda for the Normandy duke William known as 'the Conqueror' after he took the English throne from Harold, is being readied for a new narrative mission. Next year, the fragile artistic and historic treasure will be gingerly transported from its museum in Bayeux, Normandy, to star in a blockbuster exhibition in London's British Museum, from September 2026 to July 2027. Its first U.K. outing in almost 1,000 years will testify to the warming latest chapter in ties across the English Channel that chilled with the U.K.'s acrimonous departure from the European Union in 2020. The loan was announced in July when French President Emmanuel Macron became the first EU head of state to pay a state visit to the U.K. since Brexit. Bayeux Museum curator Antoine Verney says the cross-Channel trip will be a home-coming of sorts for the tapestry, because historians widely believe that it was embroidered in England, using woolen threads on linen canvas, and because William's victory at the Battle of Hastings was such a major juncture in English history, seared into the U.K.'s collective consciousness. 'For the British, the date — the only date — that all of them know is 1066,' Verney said in an interview with The Associated Press. Moving an artwork so unwieldy — made from nine pieces of linen fabric stitched together and showing 626 characters, 37 buildings, 41 ships and 202 horses and mules in a total of 58 scenes — is further complicated by its great age and the wear-and-tear of time. 'There is always a risk. The goal is for those risks to be as carefully calculated as possible,' said Verney, the curator. Believed to have been commissioned by Bishop Odo, William the Conqueror's half-brother, to decorate a new cathedral in Bayeux in 1077, the treasure is thought to have remained there, mostly stored in a wooden chest and almost unknown, for seven centuries, surviving the French Revolution, fires and other perils. Since then, only twice is the embroidery known to have been exhibited outside of the Normandy city: Napoleon Bonaparte had it shown off in Paris' Louvre Museum from late 1803 to early 1804. During World War II, it was displayed again in the Louvre in late 1944, after Allied forces that had landed in Normandy on D-Day, June 6th, of that year had fought onward to Paris and liberated it. The work, seen by more than 15 million visitors in its Bayeux museum since 1983, 'has the unique characteristic of being both monumental and very fragile,' Verney said. 'The textile fibers are 900 years old. So they have naturally degraded simply due to age. But at the same time, this is a work that has already traveled extensively and been handled a great deal.' During the treasure's stay in the U.K., its museum in Bayeux will be getting a major facelift costing tens of millions of euros (dollars). The doors will close to visitors from Sept. 1 this year, with reopening planned for October 2027, when the embroidery will be re-housed in a new building, encased on an inclined 70-meter long table that Verney said will totally transform the viewing experience. How, exactly, the treasure will be transported to the U.K. isn't yet clear. 'The studies required to allow its transfer to London and its exhibition at the British Museum are not finished, are under discussion, and are being carried out between the two governments,' Verney said. But he expressed confidence that it will be in safe hands. 'How can one imagine, in my view, that the British Museum would risk damaging, through the exhibition, this work that is a major element of a shared heritage?' he asked. 'I don't believe that the British could take risks that would endanger this major element of art history and of world heritage.'
San Francisco Chronicle
2 hours ago
- San Francisco Chronicle
With the Bayeux Tapestry that tells of their long rivalry, France and Britain are making nice
BAYEUX, France (AP) — For centuries, the storytelling masterpiece has been a source of wonder and fascination. In vivid and gruesome detail, the 70-meter (230-foot) embroidered cloth recounts how a fierce duke from France conquered England in 1066, reshaping British and European history. The Bayeux Tapestry, with its scenes of sword-wielding knights in ferocious combat and King Harold of England's famous death, pierced by an arrow to an eye, has since the 11th century served as a sobering parable of military might, vengeance, betrayal and the complexity of Anglo-French relations, long seeped with blood and rivalry but also affection and cooperation. Now, the medieval forerunner of today's comic strips, commissioned as propaganda for the Normandy duke William known as 'the Conqueror' after he took the English throne from Harold, is being readied for a new narrative mission. A homecoming for the tapestry Next year, the fragile artistic and historic treasure will be gingerly transported from its museum in Bayeux, Normandy, to star in a blockbuster exhibition in London's British Museum, from September 2026 to July 2027. Its first U.K. outing in almost 1,000 years will testify to the warming latest chapter in ties across the English Channel that chilled with the U.K.'s acrimonous departure from the European Union in 2020. The loan was announced in July when French President Emmanuel Macron became the first EU head of state to pay a state visit to the U.K. since Brexit. Bayeux Museum curator Antoine Verney says the cross-Channel trip will be a home-coming of sorts for the tapestry, because historians widely believe that it was embroidered in England, using woolen threads on linen canvas, and because William's victory at the Battle of Hastings was such a major juncture in English history, seared into the U.K.'s collective consciousness. 'For the British, the date — the only date — that all of them know is 1066,' Verney said in an interview with The Associated Press. A trip not without risks Moving an artwork so unwieldy — made from nine pieces of linen fabric stitched together and showing 626 characters, 37 buildings, 41 ships and 202 horses and mules in a total of 58 scenes — is further complicated by its great age and the wear-and-tear of time. 'There is always a risk. The goal is for those risks to be as carefully calculated as possible,' said Verney, the curator. Believed to have been commissioned by Bishop Odo, William the Conqueror's half-brother, to decorate a new cathedral in Bayeux in 1077, the treasure is thought to have remained there, mostly stored in a wooden chest and almost unknown, for seven centuries, surviving the French Revolution, fires and other perils. Since then, only twice is the embroidery known to have been exhibited outside of the Normandy city: Napoleon Bonaparte had it shown off in Paris' Louvre Museum from late 1803 to early 1804. During World War II, it was displayed again in the Louvre in late 1944, after Allied forces that had landed in Normandy on D-Day, June 6th, of that year had fought onward to Paris and liberated it. The work, seen by more than 15 million visitors in its Bayeux museum since 1983, 'has the unique characteristic of being both monumental and very fragile,' Verney said. 'The textile fibers are 900 years old. So they have naturally degraded simply due to age. But at the same time, this is a work that has already traveled extensively and been handled a great deal.' A renovated museum During the treasure's stay in the U.K., its museum in Bayeux will be getting a major facelift costing tens of millions of euros (dollars). The doors will close to visitors from Sept. 1 this year, with reopening planned for October 2027, when the embroidery will be re-housed in a new building, encased on an inclined 70-meter long table that Verney said will totally transform the viewing experience. How, exactly, the treasure will be transported to the U.K. isn't yet clear. 'The studies required to allow its transfer to London and its exhibition at the British Museum are not finished, are under discussion, and are being carried out between the two governments,' Verney said. But he expressed confidence that it will be in safe hands. 'How can one imagine, in my view, that the British Museum would risk damaging, through the exhibition, this work that is a major element of a shared heritage?' he asked. 'I don't believe that the British could take risks that would endanger this major element of art history and of world heritage.' ___ Leicester reported from Paris.
