Culture
100 days until the Olympic Games – is Paris ready?
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In 100 days, Paris will host the most famous sporting jamboree on the planet: the summer Olympic Games.
There will be action across 32 sports watched by millions of visitors, as well as an unprecedented opening ceremony set to take place on the River Seine, which runs through the city’s heart. At least, that is plan A, anyway — Emmanuel Macron, the French president, confirmed an off-river contingency for the first time on Monday.
Excitement has not quite taken hold in Paris yet. Decorations around the city remain discrete for a Games awarded to the French capital in September 2017. The City Hall has been plastered with Olympic regalia, but the focus of messaging has primarily been on practicality — “anticiper les jeux” (anticipate the Games), as posters on the Paris Metro, the city’s subway system, depict it.
The past few years have seen plenty of focus on staging the Games, but there has been much more discussion about the practical impact. Authorities have battled and quarrelled to meet deadlines and targets. There have been fears around security, heightened by Russia’s invasion of Ukraine and the Israel-Gaza conflict, with the audacious, river-based opening ceremony — set to be the first time a Games has not opened in a stadium — a particular area of concern.
Add in worries about transport disruption and the threats of strike action from unions with public sector workers, including police, demanding pay concessions for the extra work anticipated for the Games, and the build-up has been anything but smooth. Even ‘les bouquinistes’, the booksellers who maintain a 400-year tradition on the banks of the River Seine, erupted in protest at the prospect of temporary removal for the opening ceremony.
Booksellers have lined the Seine for more than four centuries (Mohamad Salaheldin Abdelg Alsayed/Anadolu Agency via Getty Images)
But now, the focus should turn to what else the Games has to offer before the Olympics begin on July 26 (although the men’s and women’s competitions for soccer and rugby sevens begin on July 24), with the Paralympic Games to follow from August 28 until September 8.
“This is the French edition,” joked Emmanuel Gregoire, the mayor of Paris’ first deputy, when asked about optimism before the Games at a press briefing this month. “At the beginning, we have been talking only about problems — but we feel that the joy is growing.”
The Olympic flame is now ablaze, lit on Tuesday on Mount Olympia in Greece before beginning its journey across 400 towns and cities in 65 regions of the French territories and landing in Marseille on May 8.
“Paris 2024 begins on May 8, that’s kick-off,” said Pierre Rabadan, the deputy mayor in charge of sport, the Olympic and Paralympic Games, and the Seine.
The first torch runners with the Olympic flame in Olympia on April 16 (Socrates Baltagiannis/picture alliance via Getty Images)
It has been a long journey to reach this point. Since Paris was awarded the Games, there has been a global pandemic — which first postponed the Tokyo Olympics and then forced it behind closed doors — conflicts in Europe and the Middle East, inflationary pressures, and screaming headlines about bedbug infestations hitting Paris.
It is safe to say the world could do with a little bit of joy and maybe the Games can provide that.
The question now is whether Paris is ready.
Are the sporting venues ready?
The permanent sites are ready. Paris is aiming to host a sustainable, green-focused Games, with 95 per cent of tournament venues either temporary or using already existing infrastructure.
The new permanent sites — the ones built specifically for the Olympics — are nearly there. The only new sports venue within inner Paris, the Adidas Arena at Porte de la Chapelle in the 18th arrondissement, opened in February. The two-hectare site will host badminton, rhythmic gymnastics, para-badminton and para-weightlifting.
The other two new sites, the Olympic Village and the Aquatic Centre, are in Saint-Denis, north of Paris and near the Stade de France, the national stadium. The Olympic Village was handed over to the organising committee in February and the Aquatics Centre opened this month.
The Aquatics Center in front of Stade de France in February (Stephane de Sakutin/AFP via Getty Images)
“I thought it was not possible, but we delivered them two weeks or one month before the (due) date,” said Rabadan. “So that’s a good point for two things. First, because we are not late and less pressure. Second, because we want to respect our budget.”
Not everything is finished, however. The temporary and renovated venues are in the process of completion, while some training sites are not yet ready. Rabadan added: “Some of the renovations for training camps and venues, we are finishing. For example, we have a massive swimming pool in the north of Paris (20th arrondissement), Piscine Georges-Vallerey. That will open up at the end of April.”
Redeveloped venues include the renovated Yves du Manoir Stadium, used for the eighth Olympiad in 1924, which will host field hockey competitions. Temporary sites are also being put together around famous landmarks, such as the Eiffel Tower (beach volleyball), the Place de la Concorde (which will become an urban park and host 3×3 basketball, BMX freestyle and skateboarding), the Champ de Mars (judo and wrestling) and the Hotel de Ville (archery, athletics, cycling). The Grand Palais, on the Champs-Elysees, will host taekwondo and fencing.
Existing infrastructure is also being used and sometimes re-purposed, such as the home of tennis’ French Open, Roland-Garros (tennis and boxing), and La Defense Arena, which is home to rugby union side Racing 92 and holds major concert events but will host swimming and water polo.
“We are exactly where we would like to be 100 days before the Olympic Games,” said Rabadan.
What about other infrastructure, such as transport?
The extension of Metro Line 14 is due to be ready. This will link Saint-Denis, the heart of the Games, with Paris-Orly airport. Capacity is being increased through more trains and other developments, such as an extension of the tramway to Porte Dauphine, which will allow access to Porte de la Chapelle. That is now complete. The group of new lines, named the “Grand Paris Express”, will not all be ready. The new lines 15, 16, 17 and 18 will open before 2030.
“We’ve known for a very long time that the Paris Express could not be ready for the Games,” said Gregoire. “So it’s not a problem, but of course, it could have been better. But these lines don’t serve Olympic sites. The major aspect is we are guaranteed to have the 14th line in Paris. This will open in May or June.”
“We will have 15 per cent more offerings of trains and metros during the Games,” said Rabadan.
The Charles de Gaulle expressway, a new line that will speed up links between Charles de Gaulle airport and the Gare de l’Est, will not be ready. “It was supposed to be delivered for the Olympic Games,” said Gregoire. “But five years ago, we knew it would not be ready. It would be ready at the end of 2025-26.”
More trains and more people will mean more cost. During the Games, transport fares will be doubled.
Will the opening ceremony actually happen on the Seine?
As it stands, athletes will parade outside a stadium for the first time, as part of a large flotilla of boats along the River Seine.
The event will start at the Bibliotheque Nationale and conclude at the Trocadero, the site of the Palais de Chaillot, on the opposite bank of the river to the Eiffel Tower.
It promises to be an eye-catching spectacle, but questions have been raised about feasibility — particularly given heightened security risks. Last month, following an attack at a concert hall in Moscow that killed more than 130 people, France raised its terrorist alert warning to its highest level.
The complexity and uncertainty are mainly due to the large numbers set to attend and the challenge of securing the river. Initial hopes of more than a million in attendance were quickly dashed, but the capacity is still set to be more than five times that of the Stade de France (which can hold 80,000 people).
As well as 10,500 athletes, around 600,000 people will attend the ceremony. Of those, 104,000 are paid tickets sold by the Olympic Committee, 220,000 are distributed across the organising parties (the state, city of Paris and Paris 2024), and 200,000 will be for those on barges or watching on balconies.
(Emmanuel Dunand/AFP via Getty Images)
Other considerations have had some impact. Les bouquinistes, the booksellers who have lined the Seine in some capacity for almost 400 years, caused a bit of a headache when they refused to remove their box stalls, some of which are a century old, for the opening ceremony. This dispute has been resolved, albeit at a cost, after Macron intervened. “We lost 70,000 spectators to guarantee security,” said Rabadan.
So is there a plan B? There have been mixed messages. This month, Paris city officials insisted the event will not be taken off the water. “We can reduce the impact and the facilities of the opening ceremony if the international risk becomes harder,” said Rabadan. “We can reduce it, the show, the number of people. But there is no plan B.”
But on Monday, Macron said there were contingencies — potentially even off the river. Asked what would happen if security risks made the river procession too risky, he told BFM TV/RMC: “There are plan Bs and plan Cs. We have a ceremony that would be limited to the Trocadero so it would not cover the entire Seine. Or we could return to the Stade de France. This is what is traditionally done.”
In a statement on Monday, city officials said: “While announcing alternative projects, the president reiterated his priority commitment to the ceremony on the Seine. This is an objective shared by all stakeholders.”
If Paris can pull off the ceremony in full, it will be spectacular. The opening ceremony of the Paralympic Games will take place along the Champs-Elysées.
What do we know about security plans?
France’s interior minister, Gerald Darmanin, outlined this month that an “anti-terrorist” perimeter would be set up around the Seine one week before the opening ceremony. It will be several square miles in size and closed to traffic unless authorised, while 15 metro and tram stations will shut, too. Only four bridges will stay open. This will then ramp up again on July 26, with no entry permitted after 1pm. Those living inside this security cordon will need a QR code to enter. “If you have not registered, you will not be able to return,” said Darmanin.
“The police need to check who they are in case they represent a threat to security,” added Gregoire. “They will have strong security measures days before. The idea is to maintain the possibility that neighbours can welcome friends and family. At the same time, to guarantee security.”
Checks are underway for volunteers and torchbearers. This month, Darmanin told broadcaster LCI that they had “excluded 800 people, including 15 on ‘Fiches S’ (the list of the most serious threats)”.
What about swimming in the Seine?
Paris wants to host the cleanest Olympic Games in history and plans to clean up the River Seine and use it to host events, such as triathlon and open-water swimming. Swimming in the Seine has been banned since 1923, but organisers hope they will be able to open three bathing areas in the river before 2025, a key legacy target of the Games.
To help offset severe waste run-off during heavy rain, a new multi-million dollar storage basin is being constructed near the river, designed to store enough wastewater to fill 20 Olympic-sized swimming pools. Concerns have been raised about the suitability of the river in a worst-case scenario, such as after intense heavy rain. “You need a plan B in case it’s not possible to swim,” said reigning Olympic 10-kilometre open-water champion Ana Marcela Cunha, speaking to AFP last month. “The health of athletes must come first.”
City officials insisted they are confident the river-based events will take place without hazard, but the risk of one leg of the triathlon (swimming, cycling and running) remains.
“We know if there is a problem we can delay the event by two days,” said Rabadan.
“We will finish all the work and the quality of water (will be suitable). Unless we have two months of continuous rain during the summer, we will be ready.”
How much will this all cost?
Last month, credit rating agency S&P Global estimated that the Paris Olympics is “unlikely to do any lasting damage to France’s finances”.
According to the International Olympic Committee (IOC), 96 per cent of the budget for organising the Games has come from the private sector, “namely the IOC, partner companies, the Games ticket office, and licensing”.
A 2022 budget review by Paris 2024 cites a total of €4.38bn (£3.74bn, $4.66bn) for the Paris 2024 Organising Committee, with an IOC allocation of €1.2bn (including TV rights of €750m and partnerships contribution of €470m). Ticketing, hospitality and licensing will contribute €1.1bn, €170m and €127m and partnerships will bring in €1.226bn, according to the review. There will be a further four per cent of public funding to finance the organisation of the Paralympic Games.
President Macron views a model of the Aquatics Centre on April 4 (Gonzalo Fuentes/Pool/AFP via Getty Images)
The rest of infrastructure spending and modification should double that budget, according to reports, to around €8.8bn. It has risen from a reported €6.7billion, but that is still below London, Rio and Tokyo.
This month, the former president of the French court of auditors, Pierre Moscovici, told France Inter that the Games “should cost” between €3bn and €5bn, although the true cost will not be known until after the Games have concluded.
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What’s the legacy vision?
Paris wants to host the Olympics and Paralympics using predominantly existing infrastructure, but more broadly, an environmentally-friendly approach is central to these Games.
This is defined by the cleaning of the Seine, but also by an increase in the number of bikes. There will be “10,000 more bikes” in Paris, according to city officials, with the network expanding to 1,400 kilometres (870 miles). Of those, there will be 60 ‘Olympistes’ — cycle routes dedicated to the Games and moving between venues.
Paris is aiming for a 50 per cent reduction in carbon emissions compared with the averages of London 2012 and Rio 2016. They want to use 100 per cent renewable energy and intend to achieve this using modifications such as connecting all venues to the grid, therefore limiting the use of temporary diesel generators. They want all sites accessible by public transport and are even “doubling the plant-based food to reach a target of 1kg of CO2 per meal, compared with the 2.3kg French average”, according to Paris 2024.
Ugo Gattoni, artist of the Paris 2024 Official Poster (Pascal Le Segretain/Getty Images)
Ensuring a lasting impact in disadvantaged communities is also on the agenda. Saint-Denis, in particular, is set to benefit, with the athletes’ accommodation planned to be turned into 2,800 homes after the Games, 25 per cent of which will be social housing. The area also stands to gain renovated pools, including the Aquatics Center, which will replace a 50-year-old 25-metre pool.
This, along with cycling, will assist a sporting legacy. There will also be more access for disability sports. “Four years ago, only four sporting clubs (in Paris) could welcome young people with disabilities,” said Gregoire. “Before the Games, we are speaking of almost 50.”
The other new arenas will be repurposed. The Adidas Arena will become the headquarters of the Paris Basketball Club, and will host concerts and schoolchildren.
Fundamentally, though, Paris wants to breathe life back into the Olympic movement, which suffered due to the pandemic at the Tokyo Games.
“The world needs some joy and if the Paris edition of the Olympic Games helps a little for that, that would be good for everyone,” said Gregoire.
(Top photo: Stuart Franklin/Getty Images)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
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.
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.
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.
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.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
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.”
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.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, 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 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?
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.
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.”
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.
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.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
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.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, 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, 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.”
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.
“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.
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.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “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 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.”
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.
“I feel the loss.”
Wheaton remembers River Phoenix.
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.
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.
Near the end
of 1971,
Chris
went into a Chicken Delight 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. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them 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.
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.
Culture
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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