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Are NFL players as college coaches here to stay? Why DeSean Jackson, Michael Vick can work

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Are NFL players as college coaches here to stay? Why DeSean Jackson, Michael Vick can work

Rodell Rahmaan has seen enough man-on-the-street interviews on social media to know he wants to do one. He’d love for a stranger with a camera to ask him the most famous person on his phone.

“I can’t wait,” Rahmaan said, “to tell them it’s Eddie George.”

The 1995 Heisman Trophy winner is in Rahmaan’s contacts list because of George’s second football life as the head coach at Tennessee State. Players at Norfolk State and Delaware State can relate after their programs hired Michael Vick and DeSean Jackson, respectively, this winter.

The trio entered those jobs with a combined 11 Pro Bowl appearances … and one season of coaching: Jackson’s eight-month stint as a high school assistant.

George, Vick and Jackson aren’t the only high-profile NFL alumni strolling college sidelines. Hall of Fame player Deion Sanders electrified Jackson State, then Colorado. Super Bowl-winning quarterback Trent Dilfer is trying to turn around his tenure at UAB. Another Super Bowl champion, Terrell Buckley, is a few weeks into his new job leading Mississippi Valley State.

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But the depth of their experience differs. Sanders coached in Texas high schools and worked with top recruits at the Under Armour All-America Game before taking over his first college program. Dilfer spent four years as head coach at a Tennessee high school and tutored top quarterback prospects in the Elite 11 camp series. Buckley’s resume includes a decade as a position coach at programs like Ole Miss and Louisville plus a year as the head coach of the XFL’s Orlando Guardians.

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In a profession where coaches grind for years to climb the ladder, George skipped a few rungs when Tennessee State hired him in April 2021. Jackson and Vick did the same. Is the trend a reflection of the growing importance of money and celebrity in college football’s new era? Schools treating a marquee position as an entry-level job? Or merely Football Championship Subdivision programs with fewer resources and little to lose thinking outside the box?

“Everybody’s gotta start somewhere,” said Mid-Eastern Athletic Conference commissioner Sonja O. Stills, whose conference includes Vick’s Spartans and Jackson’s Hornets. “So why not start at an HBCU?”

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The identity of HBCUs — historically Black colleges and universities — is central to understanding the moves. HBCUs like Tennessee State, Norfolk State and Delaware State were founded to provide higher education to Black students when no other options existed. It’s a mission Norfolk State rector Kim W. Brown highlighted while introducing Vick in December.

“We provide opportunity,” Brown said.

The hires provided a different opportunity when other head coaching doors were closed. Sanders tried and failed to land jobs at Florida State, Arkansas and TCU before an HBCU, Jackson State, gave him a chance in 2020. His Tigers went 27-6 — the program’s best run in more than four decades.

Though Sanders’ previous experience and one-of-one personality make him an unfair comparison to anyone else, he was a starting point in the trend. “The blueprint,” Buckley called him on social media.

Seven months after Sanders’ hiring, George inherited a Tennessee State program that went 5-14 in its two previous seasons. This fall, his Tigers finished 19th in the FCS coaches poll and won their first conference championship in 25 years. The industry noticed.

“With the success Prime and Eddie George and guys like that have had, I think ADs now are starting to really open up to the idea of how prominent NFL players are serious about coaching,” said Willie Simmons, who spent eight seasons as an HBCU head coach before earning the Florida International job at the FBS level this cycle.

Simmons said the lack of coaching experience for Vick and Jackson won’t necessarily show up on the field because both have been around elite players and coaches and stayed around the game in retirement. The bigger potential bumps envisioned by Simmons — who has been in touch with both rookie coaches — are administrative: building staffs with limited resources, mastering the NCAA rulebook and bylaws, figuring out fundraising and recruiting.

The trade-off is a climate where big-name coaches can thrive as the transfer portal and name, image and likeness payments disperse talent across a wider array of schools. At Jackson State, Sanders signed better recruiting classes than a few power-conference FBS programs and poached the nation’s top recruit, eventual Heisman Trophy winner Travis Hunter, from Florida State.

George’s name resonated immediately as Rahmaan sat in the transfer portal after deciding to leave Bowling Green. The Columbus, Ohio, native figures he stuttered and stammered through the first five minutes of his initial phone conversation with the Ohio State legend. Rahmaan agreed to switch from defensive end to tight end and led George’s first Tennessee State team in receiving.

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“It’s like you’re reconnecting with your childhood self,” Rahmaan said. “I felt like a child sitting in the first row in the meeting. When he’s talking, I’m sitting there smiling.

“It’s Eddie George talking. Eddie George, he’s calling me by my nickname.”


Eddie George is 24-22 in four years at Tennessee State. (Michael Reaves / Getty Images)

The local impact is significant. George is in the Tennessee Titans’ ring of honor after starring at the facility (now called Nissan Stadium) where his Tigers play. Vick grew up 30 miles north of Norfolk and took Virginia Tech to the national title game. Jackson played for three NFL teams (Philadelphia, Washington and Baltimore) within 100 miles of Delaware State; an “E-A-G-L-E-S, EAGLES” chant even broke out during his introductory news conference.

Though it’s too soon to judge the full roster overhauls at Norfolk State and Delaware State, both have seen early bumps. Jackson has added his program’s top two high school signees of the modern recruiting era in three-star receiver Jadyn Robinson and three-star running back Deuce Weston, both of whom had Power 4 interest. He also landed Michigan State transfer Antonio Gates Jr., a former four-star prospect and the son of Jackson’s NFL contemporary.

Vick’s initial portal pickups included a former top-300 national recruit and Clemson signee (David Ojiegbe), one of the SWAC’s top linebackers (Jaden Kelly) and a promising three-star quarterback (South Florida’s Israel Carter).

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It’s hard to ignore Vick’s status in Carter’s announcement. His social media graphic featured Vick in the background, as the Norfolk State coach on one side and the Atlanta Falcons’ quarterback on the other. Carter was in the center in a Spartans jersey. He, like Vick, wore No. 7.

If star power can lead to exposure in recruiting, the programs are also counting on it boosting exposure for the entire university, as Delaware State president Tony Allen acknowledged directly during Jackson’s introductory news conference. Allen said his three goals were to hire a leader of young men, a coach with tactical prowess and someone who could “continue to raise the profile” of a fast-growing HBCU.

The effects are real:

• Sanders’ Jackson State teams appeared on ESPN, ESPN2 and the cover of Sports Illustrated. Google searches for the team during his first fall were more than seven times what they were before his hire. Even after his departure, they’re still higher than they were before his arrival.

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• Tennessee State’s football revenue and expenses have doubled since George’s hiring. Both figures totaled almost $7.1 million in the 2022-23 fiscal year, according to data submitted to the U.S. Department of Education. The Tigers’ football budget soared from average in the Ohio Valley Conference in 2018 to first, by far, in 2022.

• Over the past 20 years, the only times “Norfolk State” was googled more than December (the month of Vick’s hiring) were its NCAA Tournament runs in 2012 (an upset of second-seeded Missouri) and 2021 (a one-point First Four win over Appalachian State).

At the MEAC, Stills said she received an immediate, initial influx from potential sponsors who wanted to “ride the wave right now.”

“Because HBCUs have always been underfunded, overlooked, they give us an opportunity to get more national exposure,” Stills said. “It gives us an opportunity to show a look into the institution — how we graduate more Black doctors, lawyers, engineers.”

And, if Vick and Jackson are successful, perhaps a new way to graduate Black coaches to the highest level.

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Minorities remain underrepresented as FBS head coaches, and Notre Dame’s Marcus Freeman just became the first Black head coach to lead his team to the national title game. Stills said she can envision HBCUs becoming feeders to the FBS as former pros learn the ropes in the FCS.

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The cynical read in the profession is that the exposure and financial impact of hiring green NFL stars trumped on-field possibility — the idea that, as one coaching agent put it, “Mike Vick’s gonna put butts in seats” matters more than winning games.

“It’s incredibly frustrating,” said the agent, who spoke on condition of anonymity to protect his relationships in the industry.

The traditional path has been to grind your way up from grad assistant to position coach to coordinator to head coach. The MEAC’s other four head coaches were all hired with at least 15 years on college staffs. Two had college head coaching experience, and a third (Howard’s Larry Scott) had an interim stint leading Miami. Vick and Jackson fast-forwarded ahead as if the most visible positions on campus were entry-level gigs.

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“It’s like they’re learning on the job at a major D-I institution where so many of these guys are fighting for years to become the head coach, and now they’re just thrown into it because they have the NFL label next to them,” the agent said.

Then again, the profession has never been a true meritocracy. Coaches fill out their staff by hiring buddies or agents’ connections. A famous name can help a coach’s son or nephew land a first job. Is a famous name from NFL stardom any different?

The worst-case scenario for Vick and Jackson is what happened in the 2022-23 cycle at another HBCU, Bethune-Cookman. The school was set to hire Baltimore Ravens legend Ed Reed — who spent three seasons as a Miami support staffer — before he went on a profane social media rant about the program’s resources. The deal collapsed, and the Wildcats hired alumnus Raymond Woodie Jr. His quarter-century of coaching experience included more than a decade as an FBS assistant.

A more optimistic possibility is George’s Tennessee State tenure. Ohio Valley commissioner Beth DeBauche said she was initially curious about how George would fare in her league. Since then, she has seen a professionally run team — “a program that has had its house in order,” she said — with no disciplinary issues or other problems.

And after starting with two losing seasons, George improved to 6-5 in Year 3 and went 9-4 with an FCS playoff appearance last fall. That was good enough to earn him an interview with the Chicago Bears last month.

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“There’s proof in the pudding,” DeBauche said. “We’ve seen the success, and others have seen this success in being able to build a program.”

There’s a risk, of course, just like any coaching move. But the risk is relative, as former Norfolk State administrator Glen Mason knows.

Mason is a longtime resident of Virginia’s Tidewater area and graduated from Norfolk State in 1983. He watched his alma mater’s past two coaches go a combined 36-65. The Spartans’ lone conference championship in the past four decades (2011) was vacated for NCAA violations. Mason was the program’s sports information director when the school filled its 30,000-seat on-campus stadium in its 1997 debut; the venue has had only one crowd larger than 28,000 since then (though Norfolk State did rank 11th in the FCS in average attendance in 2024 at 14,544 despite its 4-8 record).

The challenges may be even greater for Jackson at Delaware State. The Hornets have lost 23 of their past 25 games. They haven’t had a winning conference record since 2013 and have won the MEAC championship only once since 1990. Their average attendance last season (3,333) ranked last in the conference and No. 102 out of 130 FCS teams.

With that as the floor, what does anyone have to lose?

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“There is no risk/reward for me,” Mason said.

If the potential risk is more losing, then the potential reward is what Rahmaan experienced firsthand at Tennessee State. He credits the extra attention George brought for getting him a spot at a Seattle Seahawks camp and stints in the UFL/USFL. He still beams when George texts him on his birthday.

Rahmaan doesn’t know Vick or Jackson personally, but he knows enough to think their new players are set to benefit, too.

“I love to see all that happening,” Rahmaan said. “I love to even think about the opportunities those kids are going to have.”

 The Athletic’s Ralph D. Russo contributed to this report.

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(Top photos of DeSean Jackson and Michael Vick: Eric Hartline / Imagn Images and Sean Gardner / Getty Images)

Culture

What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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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.

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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.

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Wallace Stevens in 1950.

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Walter Sanders/The LIFE Picture Collection, via Shutterstock

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?

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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.

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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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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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