Culture
As likely No. 1 WNBA Draft pick, Paige Bueckers is among new generation of young talent
Two Sundays ago, Paige Bueckers and Sue Bird gathered inside Amalie Arena in Tampa, Fla., as different points in their lives were celebrated.
Bueckers led a courtside coronation. The Huskies blew out South Carolina to win UConn’s first national championship in nine years. With the souvenir net draped around her neck after her final college game, Bueckers said she felt an overwhelming sense of joy and gratitude.
Bird also appeared grateful for her moment in the spotlight. She was present, in part, to co-host an alternate ESPN telecast with her best friend and former UConn teammate Diana Taurasi. But in the first half of the Huskies’ eventual 23-point victory, Bird received a warm ovation from fans as she was honored as a new inductee in the Naismith Basketball Hall of Fame.
That both Bird and Bueckers were in the same place at the same time was a fitting reminder of the current moment in women’s basketball. A new guard is entering the professional ranks while an older generation looks on — and receives acknowledgement — from the arena rafters.
Over the last three years, WNBA trailblazers like Bird, Taurasi, Sylvia Fowles and Candace Parker have retired from the league. Bueckers, who is expected to be selected with the No. 1 pick in Monday night’s WNBA Draft by the Dallas Wings, represents a potential pillar for its future.
Paige. Buckets. Enough said. 🏆
Paige Bueckers closed out her UConn career with a national title and the 2025 Wade Trophy. She was a 3x AP First Team All-American, a 2x Nancy Lieberman Award winner, and the 2021 National Player of the Year. Bueckers led UConn to four Final… pic.twitter.com/pARNMvO5DK
— WNBA (@WNBA) April 11, 2025
She joins last year’s top rookies, Caitlin Clark and Angel Reese, as cornerstones of the WNBA’s latest chapter. Who better to be a new baton carrier than someone who faced constant questions about pressure and legacy throughout her college career? As the WNBA attempts to build on its historic 2024 season, Bueckers’ arrival is as close as the league can come to adding another ambassador prepared to help compound its growth.
“It’s so popular right now, so it’s at a really good place,” Wings general manager Curt Miller said. “I’m excited about this draft class keeping the momentum going.”
Bueckers is used to high expectations. At UConn, she faced endless reminders of them. Chairs from each of the program’s Final Four appearances were in the Huskies’ practice gym. Banners for All-Americans and national titles hang on walls. Some Storrs, Conn., highway welcome signs denote how many championships the Huskies have won. After last week, that’s now an NCAA-record 12.
Bueckers is aware of each marker. She learned to refine her mindset and become more process-focused to manage. Over five years, she became the face of a college program that has an arguably higher profile than almost every WNBA franchise, navigating not only her own growing stardom but also a changing climate in college sports. She is part of a generation of college players who have conducted themselves like pros while still in school. Photo and commercial shoots become part of off days. She already has partnerships with Nike, Intuit, Google and Bose. And Friday, Bueckers — having never stepped foot on a WNBA court — was part of Ally’s promotional materials for becoming the official banking partner of the WNBA.
Eight days after finishing her collegiate career, Bueckers will officially turn the page in her story when she walks across the draft stage. She’ll almost certainly be headed to Dallas to join a franchise that lacks the same historic relevance as her alma mater. Though the Wings technically have three championships to their name, those titles belong to the Detroit Shock, which later relocated to Tulsa and eventually moved to Texas.
“I can’t begin to tell you how much this just injects energy, enthusiasm, as we head into the ’25 season,” Miller said in December after the Wings were awarded the No. 1 pick.
As a three-time All-American, three-time Big East Player of the Year and one-time Naismith Player of the Year, Bueckers can look to Clark as a road map through her rookie season.
The former Iowa star’s adjustment to the pros took only a few weeks. Clark exploded, adjusting to the WNBA’s physicality, finding her stroke and meshing with her teammates en route to an All-WNBA first-team season. The Indiana Fever returned to the playoffs for the first time since 2016.
“Much like last year when we thought Caitlin Clark’s game was going to translate right away, and for the most part it did, I think Paige’s game is going to translate right away,” UConn alum and Hall of Fame forward Rebecca Lobo said. “Caitlin and Paige are very different players. … But their impact can be just as significant.”
Teammates will feel Bueckers’ impact in games — she is a willing passer and will create even better looks for Dallas’ existing star guard Arike Ogunbowale. And it will be felt league-wide — the WNBA knows she’s a TV draw, with two Wings games on ABC this season after none last year.
In Dallas, team executives have also long recognized the impact the No. 1 pick would have. When the Wings won the lottery in mid-November, nine days after Miller was announced as their new GM, they also had yet to hire a coach. But that Sunday, when the ping-pong balls bounced in their favor, Miller knew it was transformative.
The Wings, who hired Chris Koclanes as their coach in December, were already in a growth moment when they learned of their good fortune. They had been planning a 2026 move from Arlington to Dallas, boosting their arena seating from around 6,000 to 9,000. A new practice facility was already in the works, too, and they added more national partners than ever last season. Dallas rebudgeted its ticket revenue three times in 2024 and sold two half-percent ownership stakes at a league-record $208 million valuation.
I woke up feeling like a traitor cause I was really clapping when a certain team scored??? 😭☘️ anyway, go wings lol. can’t wait for the draft. @DallasWings yall know what to do ❗️
— Arike Ogunbowale (@Arike_O) April 7, 2025
But in the same way that Clark supercharged interest in the Fever and Reese did for the Chicago Sky, Bueckers will likely provide a boost. Though Dallas’ total ticket revenue grew 44 percent year over year from 2023 to 2024, the franchise is projecting a 50 percent increase in total ticket revenue this season. The Wings have sold out their season ticket inventory each of the past two seasons, but they announced they did so in late November, just days after securing the No. 1 pick.
Bueckers, 23, is a known star. Off the court, she garnered headlines from appearances at the U.S. Open and New York Fashion Week. This season, the Huskies sold out their season tickets for Gampel Pavilion for the first time since 2004-05.
UConn’s blowout win over South Carolina was the third-most watched women’s basketball championship game, peaking at 9.8 million viewers, according to ESPN. The Sweet 16 round averaged 1.7 million viewers across ESPN’s networks, the second-most watched Sweet 16 on record behind last year.
Monday’s draft might also fall short of 2024’s record event, but it’s poised to remain noteworthy and could be the second-most watched W draft ever. Bueckers will hear her name called, share a moment with commissioner Cathy Engelbert and begin a post-draft circuit consisting of interviews and photo shoots.
As Taurasi said last season as Clark prepared for the WNBA, reality is coming. For Bueckers, this is true, too. But as a part of a wave of name, image and likeness stars who have already been the faces of a program and the sport, Bueckers is poised to be another success story in this era of historic WNBA growth. It’s impossible to be fully prepared for what’s next, but she is well-positioned to thrive.
Here’s a look at the order of Monday’s draft:
(Illustration: Demetrius Robinson / The Athletic; photo of Paige Bueckers: David Butler II / Imagn Images)
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.
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.
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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