Culture
The Steelers’ offense has two quarterbacks … and a slew of unanswered questions
CLEVELAND — As the flakes tumbled from the night sky, turning Huntington Bank Field into a snow globe, Pittsburgh Steelers quarterback Russell Wilson dropped back and let it fly.
The pass, thrown with anticipation, found receiver Calvin Austin III on time and on target in the end zone for the go-ahead, 23-yard touchdown. After failing to score a touchdown for more than seven consecutive quarters dating to Week 10 against the Washington Commanders, Pittsburgh had scored two in less than two minutes to take a one-point lead over the Cleveland Browns with 6:15 remaining.
.@DangeRussWilson ➡️ @CalvinAustinIII for six!!!!
📲 Stream on NFL+: https://t.co/COxKRnr6Mc pic.twitter.com/ucLP4kE2cM
— Pittsburgh Steelers (@steelers) November 22, 2024
It was a miraculous comeback. Until it wasn’t.
“The game is never won until you get on the bus,” Austin said after the game. “So it was definitely an emotional moment (after the touchdown). We were all hype and stuff. But we knew we had an inspired team that was about to get the ball back.”
As it turned out, the Browns got the ball back not once, but twice.
The Steelers’ defense did its job the first time, forcing backup quarterback Jameis Winston into an errant pass that cornerback Donte Jackson intercepted with 4:22 to go. But after Pittsburgh went three-and-out — with Justin Fields in for Wilson at quarterback on second and third down — and Corliss Waitman shanked a punt for the first time as a Steeler, the defense couldn’t get off the field again.
Cleveland got the ball back with 3:22 remaining and drove 45 yards in nine plays. The Browns capped the sequence with a 2-yard Nick Chubb touchdown with 57 seconds remaining, then batted down Wilson’s Hail Mary as time expired to stun the Steelers, 24-19.
GO DEEPER
Browns stun Steelers 24-19 in snow as Chubb scores late TD: Takeaways
A team that made a statement by beating the Baltimore Ravens just four days earlier dropped to 8-3, leaving the door open in the competitive AFC North.
“Missed opportunities,” defensive co-captain Cameron Hayward said. “We have to eat it. They made more plays at the end. Some of that stuff we can have some head-scratching about what was on display. Just take it, move on. I know everybody is pretty pissed off about the loss.”
The weighty moments at the end of the game loom large: coach Mike Tomlin’s decision to accept an illegal touching penalty that gave the Browns a second crack at third down on the final drive, then spending a timeout that would be needed later; the coverage on the ensuing third-and-6 conversion; the decision to tackle Chubb on the 2-yard line with more than 90 seconds remaining instead of letting him score to preserve time and get the ball back.
But the reality is this game was lost much earlier, on the other side of the ball.
“We beat ourselves with a lot of mistakes,” Austin said. “That takes all 11 looking in the mirror and just continuing to push details. They’re a good team. Got to give them credit. But at the end of the day, we just got to perform better.”
Two weeks ago, when Wilson erased a 10-point, second-half deficit against the Commanders, it appeared the offense had finally figured it out after years of instability and inconsistency. At the time, the veteran signal caller had led the Steelers to 31.7 points and 382 total yards per game through three starts. If the offense continued along the same trajectory, it was reasonable to consider the Steelers legitimate Super Bowl contenders that could stand toe-to-toe with Patrick Mahomes or Josh Allen.
But it hasn’t continued.
If those first three games showed the explosive upside of Wilson’s moonball, his veteran presence and his ability to make checks at the line of scrimmage, the past two have revealed many of the Steelers’ offensive warts.
It’s certainly not all on Wilson. However, sacks are becoming problematic, putting the offense behind the chains. This was an obvious area of concern the minute the Steelers signed Wilson, considering he led the NFL in sacks taken in two of the previous five seasons. Initially, when he took over for Fields in Week 7, the Steelers did well enough to protect Wilson that it wasn’t a major red flag.
However, in the first half alone on Thursday, Wilson was sacked four times, as the Browns kept the Steelers’ offensive line off balance with stunts and games up front. Three of those sacks came from Myles Garrett, including a strip-sack that set the Browns up on a short field.
Myles strips the ball and we recover it 🙌😤 #PITvsCLE | @NFLonPrime pic.twitter.com/36WalR8R8h
— Cleveland Browns (@Browns) November 22, 2024
Even beyond the negative plays, Pittsburgh’s offense has become too boom or bust. Yes, once again, Wilson’s deep shot was a catalyst. He connected with Austin on a 46-yard bomb up the seam, hit Van Jefferson on a 35-yard gain and found George Pickens for 31 yards. Those big plays helped bolster what was a solid stat line from Wilson, as he completed 21 of 28 passes for 270 yards and a touchdown with no interceptions for a 116.7 passer rating.
The problem is, when the Steelers aren’t producing touchdowns on these deep shots, they’re having a hard time finishing drives. The issues emerged on the opening drive. On third down, Wilson took an 8-yard sack on third-and-2, turning a potential 50-yard field goal attempt into a 58-yarder that the reliable Chris Boswell missed.
The Steelers, who rank 26th in success rate (37.2 percent, per TruMedia) since Wilson took over, tried to use every resource available to keep the offense going. However, another first-half drive was halted on the 40-yard line. This time, they deployed Fields on a fourth-and-2 QB keeper, failing and turning the ball over on downs. The offense also fizzled at the 30 (made field goal), its own 46 (failed fourth-and-1 run by Jaylen Warren) and the Cleveland 9-yard line (made field goal).
“We had some really good, explosive plays down the field, throwing the ball with Van (Jefferson) — he made some great catches — and Calvin (Austin),” Wilson said. “And then we got stalled for whatever reasons. We’ve got to watch the film and see what that was. … We needed one or two more plays.”
Complicating matters is the unique quarterback dynamic. After utilizing the Fields package for three plays on Sunday against the Ravens, the Steelers featured their mobile QB on seven snaps (plus an eighth that didn’t happen because of a false start) on Thursday.
The results were mixed. After coming up short on fourth down early in the game, Fields provided a second-half spark when he kept the ball on a zone read and raced 30 yards along the right sideline. That played helped jump-start the offense, and later in the same drive, the threat of Fields keeping the ball on the zone read helped Warren burst into the end zone to snap the Steelers’ touchdown-less skid and kindle the rally.
Jaylen Warren in for the TD! The @Steelers answer right back.#PITvsCLE on Prime Video
Also streaming on #NFLPlus pic.twitter.com/aDPce0i8CM— NFL (@NFL) November 22, 2024
The Steelers also put the ball in Fields’ hands in a four-minute situation with the lead. It was a reasonable time to play the running quarterback, with the Steelers trying to burn the clock. However, on third-and-4, his deep shot for Pickens sailed incomplete, stopping the clock and giving the Browns plenty of time to score the go-ahead touchdown.
Asked if he would have liked to be in the game in that critical moment, Wilson was somewhat transparent.
“Listen, I always want to be in there,” he said. “That’s just the competitor in me. But at the same time, we have great trust in Justin, our team, our coaches and everything we’re doing.”
It’s also not the easiest challenge for Fields. He said after the game that he felt “kind of stiff” on his 30-yard run after standing on the sideline for the entirety of the second and third quarters, adding he felt he could have scored on the play. Asked if it’s difficult to enter the game mid-stream and virtually without warning, Fields admitted it is.
“But at the end of the day, that’s what my job is,” he said. “So you can’t complain. Anytime I get a chance and an opportunity to go on the field and help my team, I’m happy to do it.”
Sitting behind a keyboard and watching the game from the press box, it’s honestly hard to say what the right balance should be. Fields has often been the Steelers’ best offensive weapon, and his mobility might be able to help them rectify their red zone woes. Using both quarterbacks allows the Steelers to adjust on the fly if the offense needs a jolt or if the opposing pass rush is becoming too big of a factor. On the other hand, it does seem that, at times, rotating quarterbacks can disrupt the passers’ rhythm and timing.
Still, it’s important to remember that the Steelers got to 8-2 thanks to the contributions of both players. If they’re going to prove that this two-game stretch of offensive woes was a blip on the radar, and that this offense can in fact provide an edge in the postseason, they’re probably going to need to continue to use both.
Finding that right balance and rediscovering a way to finish drives will help determine how far this offense — and the team as a whole — goes.
“We’ve got a lot of football left,” Wilson said. “We’ve got a lot of opportunities to respond in the highest way, highest level. I think that everything that we want is still in front of us.”
(Photo of Russell Wilson: Kevin Sabitus / Getty Images)
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Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).
This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Ada Limón, poet
Nonetheless, the poem soon makes clear that love is very much on its mind.
How should we like it were stars to burn
With a passion for us we could not return?
David Sedaris, writer
The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.
If equal affection cannot be,
Let the more loving one be me.
Reginald Dwayne Betts, poet
Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
Auden’s poem, like Marlowe’s, is written in four-beat lines:
How should we like it were stars to burn
With a passion for us we could not return?
Josh Radnor, actor
And it features strong end rhymes:
If equal affection cannot be,
Let the more loving one be me.
Samantha Harvey, writer
These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:
I do not like thee, Doctor Fell
The reason why I cannot tell.
But this I know and know full well
I do not like thee, Doctor Fell.
There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.
This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.
But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.
What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.
This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:
As lines, so loves oblique may well
Themselves in every angle greet;
But ours so truly parallel,
Though infinite, can never meet.
The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”
The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:
How should we like it were stars to burn
With a passion for us we could not return?
Mary Roach, writer
The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:
If equal affection cannot be,
Let the more loving one be me.
Tim Egan, writer
Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
How should we like it were stars to burn
With a passion for us we could not return?
Tap a word above to fill in the highlighted blank.
Your task today: Learn the second stanza!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
Literature
Oedipa Maas from ‘The Crying of Lot 49’ (1966) by Thomas Pynchon
“The unforgettable, cartoonish protagonist of this unusually short novel is a California housewife accidentally turned private investigator and literary interpreter, and the mystery she’s attempting to solve — or, more specifically, the conspiracy she stumbles upon — is nothing less than capitalism itself,” says Ngai, 54. “As Oedipa traces connections between various crackpots, the novel highlights the peculiarly asocial sociality of postwar U.S. society, which gets figured as a network of alienations.”
Sula Peace from ‘Sula’ (1973) by Toni Morrison
“Sula arguably begins to disappear as soon as she’s introduced — despite the fact that the novel bears her name. Other characters die quickly, or are noticeably flat. This raises the politically charged question of who gets to ‘develop’ or be a protagonist in American novels and who doesn’t. The novel’s unusual character system is part of its meditation on anti-Black racism and historical violence.”
The speaker of ‘Lunch Poems’ (1964) by Frank O’Hara
“Lyric poems are fundamentally different from narrative fiction in part because they have speakers as opposed to narrators. Perhaps it’s a stretch to nominate the speaker of ‘Lunch Poems’ as a main character, but this book changed things by highlighting the centrality of queer counterpublics to U.S. culture as a whole, and by exploring the joys and risks of everyday intimacy with strangers therein.”
This interview has been edited and condensed.
More in Literature
See the rest of the issue
Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.
Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)
This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.
Here’s the first of its four stanzas, read for us by Matthew McConaughey:
The More Loving One
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Matthew McConaughey, actor and poet
In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.
Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.
Tracy K. Smith, poet
These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.
This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.
The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.
But the third stanza takes it all back. Here’s Alison Bechdel reading it:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Alison Bechdel, graphic novelist
The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.
The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
Yiyun Li, author
Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.
Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.
The last line puts a brave face on heartbreak.
So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.
When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.
Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.
This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.
So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Looking up at the stars, I know quite well That, for all they care, I can go to hell,
Tap a word above to fill in the highlighted blank.
Your first task: Learn the first four lines!
Let’s start with the first couplet. Fill in the rhyming words.
Monday
Love, the cosmos and everything in between, all in 16 lines.
Tuesday (Available tomorrow)
What’s love got to do with it?
Wednesday (Available April 22)
How to write about love? Be a little heartsick (and the best poet of your time).
Thursday (Available April 23)
Are we alone in the universe? Does it matter?
Friday (Available April 24)
You did it! You’re a star.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
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