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Rafael Nadal is retiring from tennis right on time

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Rafael Nadal is retiring from tennis right on time

For more than 20 years, Rafael Nadal leaned into his reputation for authenticity.

Roger Federer was the tennis politician, an artless beacon of neutrality. Novak Djokovic was fated to manage the difficult task of fitting into a sport that the Nadal-Federer rivalry had come to define, by trying on a series of identities. He has only recently settled into his best fit: a tennis statesman prone to releasing the antagonistic tennis demon that he so relishes and which always lurks within.

Rafa just did Rafa. He was never afraid to be painfully honest with what was unfolding in front of his eyes or around him. Sometimes he used his words, punctuating a sentence with his trademark, “that is my true.” Sometimes it was one of those eyebrows, arched with the curve of his forehand, or the sarcastic grin that barely held back his disbelief.

“Really, amigo?” he might have said as Federer played on until 41, essentially on one knee in his final go-rounds, or as Andy Murray gamely tested rackets and tried to defy spinal surgery this spring and summer. Nadal shared with them the desire to have nothing left to give, but his decision to call it quits at 38 after the Davis Cup Finals in Malaga this November feels downright speedy by comparison even with the halting physical uncertainty of his last two years.

Nadal collected all the data he needed to conclude his time had passed in 16 matches over four months, all of them on red clay, the surface where besting him had once been arguably the toughest task in any sport. He won 10 and lost six, including two painful and somewhat lopsided defeats to Alexander Zverev and to Djokovic on Court Philippe-Chatrier at Roland Garros, his supposed living room. That was that, regardless of that raging-bull, never-quit mentality that has awed friends and foes alike for ages.

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Rafael Nadal and Novak Djokovic’s last meeting was a signal to him that it was time. (Tim Clayton / Corbis via Getty Images)

“He’s the strongest player I’ve seen, mentally, and I’m not talking just about tennis, I’m talking about all sports,” his friend and compatriot Feliciano Lopez said in an interview Thursday.

The mentality was never his doubt. Nadal wanted to play without physical limitations. He couldn’t.

“It’s obviously a difficult decision, one that has taken me some time to make,” he said in his retirement video.

“Everything in this life has a beginning and an end. I think it is the appropriate time to end a career.”

How Rafael Nadal will leave tennis

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It’s true that this has been in the works for something on the order of two years, ever since Nadal pulled up while chasing a forehand in Rod Laver Arena at the Australian Open in January 2023. He glared up at his box in mid-stride, his eyes so wide it looked like someone had stabbed him in the hip.

In June of that year, he had surgery to repair two muscle tears, then embarked on one last comeback, enduring another series of setbacks each time he began to feel like his game might still be within reach. Ultimately, Nadal proved incapable of deluding himself that he could ever compete with the best players in the world again.

In retrospect, it probably didn’t even take that long. At the top level of tennis today, players need to be able to collect a certain number of easy points on their serve. This was especially true for Nadal, no longer with the speed or the ability to chase down balls for four hours through five sets as he had for 20 years.

He could no longer inflict the same damage on his serve, a shot that was always something of a limitation, even as he had managed to turn it from a real weakness into something of a weapon. He could no longer lift or torque his body as he once had, and he was essentially hitting two second serves every time he stepped up to the line. That would not change, even while skipping hardcourt tournaments and the Wimbledon grass, prompting thoughts of one last trip to the French capital where he, the boy from Mallorca, has his statue.

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Rafael Nadal’s final French Open saw him dealt a cruel hand by the draw in the shape of Alexander Zverev. (Alain Jocard / AFP via Getty Images)

If he couldn’t go there with the dream of doing something important, he wasn’t going to bother. He didn’t need another afternoon of adulation and parting gifts if the match that preceded it would be little more than valediction.

“I prefer to stay with all the amazing memories that I have,” he said during a news conference ahead of the 2024 French Open.

Hubert Hurkacz, who also served Federer the humiliation of a Wimbledon bagel, pummeled Nadal at the Italian Open 10 days later. Nadal blew off a post-match celebration and didn’t mince words about the performance.

“I did a disaster,” he said after the match.

A spell of good health and a solid week of training ahead of that final French Open gave him some hope, but the draw delivered Zverev in the best form of his life. Nadal said he had felt good enough to perhaps improve with each match, but the pairing didn’t allow for that. Given where his ranking stood, and the state of his health, the draws probably wouldn’t have helped him again.

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And then the final data point came at the Olympics in a second-round match against Djokovic, his longtime foe. In their 60th meeting, Djokovic won 6-1, 6-4 in a match that wasn’t as close as even that scoreline implies.

go-deeper

GO DEEPER

Game, Set, Match: Novak Djokovic sees off Rafael Nadal at Paris Olympics

Just as with Hurkacz, Nadal was cold and clear-eyed in his assessment of what had unfolded on that afternoon. He knew where his tennis stood. Djokovic had controlled the court all day, playing from all the comfortable positions, punishing Nadal on his serve and taking away his legs, as Nadal had done to so many on that red dust for so long.

“He was much better than me,” Nadal said then.

He could have played on. In an individual sport, no one cuts you from the team. Especially not tennis, and especially not tennis with Nadal, whose tournaments would dole out wild card entries to him as long as he could ask for them. He could have spent the next year enduring beatings like the ones from Hurkacz and Zverev and Djokovic, then letting crowds across the globe fete him in his anguish.

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He didn’t need that. As he put it back in the spring, he preferred to stay with all his amazing memories.

(Top photo: Julian Finney / Getty Images)

Culture

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

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Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

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But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

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It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

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and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

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So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

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I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

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Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

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We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

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did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

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“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

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I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

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and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

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When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

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And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

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It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

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Culture

Do You Know the Comics That Inspired These TV Adventures?

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Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

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Culture

Video: Our Spring Book Recommendations

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Video: Our Spring Book Recommendations

new video loaded: Our Spring Book Recommendations

A few editors from the New York Times’s Book Review give their recommendations for what new releases you should be reading this spring.

By Jennifer Harlan, MJ Franklin, Joumana Khatib, Edward Vega and Laura Salaberry

March 19, 2026

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