Culture
‘A long road. A big mountain to climb’: Inside Matt Murray’s emotional journey back to the NHL
BUFFALO, N.Y. — Matt Murray looked up to the scoreboard above him, counted down the seconds as they disappeared and finally pumped his fist.
It had been 638 days since Murray last felt the feeling washing over him.
Bilateral hip surgery forced the Toronto Maple Leafs goalie out of the entire 2023-24 season, the final of a four-year contract. There was no guarantee the oft-injured Murray would play in the NHL again. A one-year contract offered him a lifeline to continue grinding far out of the spotlight in the AHL, with only one goal.
And over a year and a half later, Murray was back to where he had fought to be: in the NHL win column after stopping 24 shots in a 6-3 win over the Buffalo Sabres.
“A long road. A big mountain to climb. But I kept this moment in the front of my mind on the days it felt tough,” Murray said.
The 30-year-old’s eyes grew more red with every word he spoke after the game. His voice quivered.
“A big release,” he said, struggling to find the words to put nearly two years away from the NHL into perspective. “A rush of emotions.”
The typical goalie hugs with teammates after the win were tighter, longer. In a physical game where a player’s career can turn on a dime, Murray’s return resonated far more heavily than the 2 points the Leafs also added on the day.
“It’s good to see (Murray) smiling,” Steven Lorentz said, “because you know he’s back doing what he loves.”
In the dressing room, Max Domi immediately handed Murray the team’s WWE-style wrestling belt as player of the game. Murray’s up-and-down performance was secondary.
“He was getting that thing, 100 percent, he deserved it,” Domi said. “The ability to stick with it mentally, out of all those days that I’m sure he had a lot of doubt, it’s a long road to recovery. We’re all super proud of him.”
It’s easy to quantify just how long Murray’s road back to the NHL was in days: 628 of them between his last two appearances.
It’s far more difficult to accurately describe just how arduous that road is.
Injuries have dogged Murray throughout his career after winning back-to-back Stanley Cup titles in his first two seasons in the NHL with the Pittsburgh Penguins. His games played tapered off every season from 2018 to 2022. After he was traded to the Leafs in summer 2022, he struggled through his first season. It was fair to wonder whether hip surgery would be the final dagger in his NHL career.
But Murray would still hang around teammates at the Leafs’ practice facility during his rehabilitation last season, feeling so close but so far away from the league he once conquered.
“The fact that he’s just on his way back here says a lot about his character, his dedication to the game,” Lorentz said.
Murray kept a stall full of his gear at that facility that was never used. An important and humane gesture from the Leafs organization, but still a reminder that Murray was not playing NHL games.
Even after re-signing with the Leafs on a one-year, $875,000 deal, he felt like the organization’s No. 4 goalie. When the Leafs needed a netminder to replace the injured Anthony Stolarz, they called up Dennis Hildeby. The lanky Hildeby is seven years’ Murray’s junior.
How could Murray not wonder whether his NHL return would ever come?
“There were definitely times when it felt really difficult,” Murray said. “But whenever I felt like that, I had a great group of people around me. That’s the only reason why I’m here.”
All Murray could do was work his tail off, far away from public sight, quietly hoping for the return that finally came Friday night.
“The emotions were high today,” Murray said.
Those emotions perhaps ran highest before the game. The typically stoic Murray allowed himself to stop and appreciate how far he’s come.
“I was able to take a moment in warmups and during the anthem and look around and appreciate the long journey that it’s been and think of all the people who helped me get here,” Murray said.
It was the kind of game that reminded onlookers of the fragility of an NHL career. Just a few short years separated Murray from being a Stanley Cup winner to being largely written off from the NHL, all essentially before the age of 30.
“You feel for a guy like that because he works so hard and he wants it so bad,” Lorentz said. “We’re all rooting for him.”
Matt Murray saved 24 shots in a 6-3 win over the Sabres, earning his first NHL win in 638 days. (Timothy T. Ludwig / Imagn Images)
Murray moved well enough in his return. He swallowed most of the 27 shots the Sabres threw at him, looking every bit the veteran he is. Murray had two goals against called back upon video review. His sprawling save on Sabres forward Alex Tuch was a reminder of the athleticism he can provide now that he’s fully healthy, too.
They’re all qualities Leafs fans might have forgotten. But they’re qualities that are still front of mind for Murray’s Leafs teammates.
“It hasn’t been forgotten in my mind what he’s accomplished in this league in his career,” Leafs forward Max Pacioretty said, himself no stranger to debilitating injuries that threaten a career. “It’s hard to almost remember what you’ve done, what you’ve accomplished because it seems like all the noise is always in the moment, whether it’s the injury or what has happened lately.”
Perhaps the Leafs win could have been predicted ahead of time. Sure, they were playing a reeling Sabres team that has now sputtered through 12 losses in a row. And they were buoyed by an upstart, white-hot line of Max Domi, Bobby McMann and Nick Robertson. They’re the third line in name only: The trio combined for three goals and 6 points against the Sabres.
But the opponent shouldn’t denigrate what was front of mind not just for Murray but also for the Leafs in Buffalo. They wanted to do right by a player who has done everything in his power to return to the NHL. You didn’t have to squint to see a defenceman like Jake McCabe throwing Sabres out of Murray’s crease with a little extra gusto.
“It gives you some incentive to go the extra mile because you know (Murray) has gone that extra mile just to get back to this position to where he’s at right,” Lorentz said. “It’s not like he half-assed it to get back to this point and he expected to be here. Surgeries and injuries like that, that he went through, that can stunt your career for a long time. You might never be able to recover to your old form.”
But Murray is working on getting back to the Matt Murray of old. And the Leafs’ need for Murray won’t end when they head north on the QEW back to Toronto.
The earliest Stolarz will likely return from a knee injury will be mid-to-late January. Hildeby doesn’t exactly have the full confidence of the Leafs organization right now after allowing a few soft goals during a recent call-up against the Sabres at home, combined with a less-than-stellar AHL season so far. He’s likely going to be an NHL player down the road, but there’s room for him to grow and develop more confidence in his game.
But Murray has what no other goalie in the Leafs organization has: experience. And that matters to Brad Treliving and Craig Berube: Both value games played and would rather lean on veterans whenever possible.
They’ll lean on Murray because of everything he’s done, and gone through, in his career.
After Friday night, that career looks drastically different.
“In reality, you’ve got to take each day as it comes and you never know when it’s going to be all over,” Pacioretty said. “So you don’t want to take days for granted.”
After Murray had dried his eyes and slowly taken off the pounds of goalie gear heavy with sweat, he sat on his own in the dressing room. The Leafs equipment staff all stopped unloading bags from the dressing room to give him a quiet pat on the back.
Murray looked up to see a note written on a whiteboard in the dressing room. The Leafs bus would be leaving in 20 minutes. There was another NHL game on the horizon.
He could smile once again knowing it certainly won’t be 628 days between being able to do what he loved.
(Top photo: Timothy T. Ludwig / Imagn 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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