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At a ‘crisis moment,’ women’s college basketball officiating needs a way forward

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At a ‘crisis moment,’ women’s college basketball officiating needs a way forward

After the first quarter, both SMU and Memphis assumed everything would calm down. Nine fouls in 10 minutes was a lot. But everyone, officials included, regroups after each quarter. Surely, someone in the three-member officiating squad would say: Let’s let them play.

In the second quarter, the teams made it 90 seconds before the next whistle. The next one came 21 seconds later. And another 29 seconds after that.

“It was so hard to just play basketball, to just play free, without a ref blowing a whistle,” said Ki’Ari Cain, the only Memphis starter not to foul out of that January 2024 game.

“It just felt like — don’t touch anybody,” said former SMU guard Reagan Bradley.

From the radio booth, Tyler Springs, the voice of Memphis women’s hoops, painted the picture: Players stunned and staring off into space; others approaching the referees with varying degrees of animosity.

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“At a certain point, I felt resigned to the rhythm of the night, rather than being incensed about it,” Springs said. “It just kept going and going.”

By the end of 50 minutes of play — including two overtimes — 75 fouls had been called in a game that was not unusually physical. The game took three hours and 40 minutes (typical game time: two hours). Ten players fouled out. There were 98 free throws. SMU’s bench was so depleted that it finished with just four players on the floor (and still won, 91-86).

Bradley made it to the second overtime. Then she became the fourth player on SMU to foul out.

“I’m walking down the bench, high-fiving my teammates, and as I’m passing each one, I’m like, ‘You already fouled out. You already fouled out. You already fouled out,’” Bradley said. “It was crazy.”

Five days later, on a video call with officials from across the country, Debbie Williamson — the person responsible for assigning, evaluating and developing officials in several conferences across the country, including SMU’s and Memphis’ league (the American Athletic Conference) — said she oversaw a game that week with “a lot of fouls” … but that the crew was 90 percent correct.

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“It was such a proud moment for us,” Williamson said.

Though Williamson didn’t mention SMU-Memphis explicitly, multiple officials who viewed the call, who requested anonymity because they weren’t authorized to discuss it publicly, agreed she couldn’t mean any other game.

“Our expectation for you all, night to night … is that you guys (call) all the rules, all the time,” Williamson said on that call, a recording of which was viewed by The Athletic.

Williamson and the ACC, the power conference she supervises, had not commented at the time of publication. The officials who called the SMU-Memphis game declined to comment or did not respond to a request for comment.

The Memphis-SMU game drew some public criticism, but didn’t garner widespread attention like other recent high-profile officiating fracases have. Those include:

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• The 2023 NCAA title game, which was so egregious it caused the NCAA to fast-track an officiating review that was meant for the following year

• A 2024 NCAA Sweet 16 game in which Notre Dame star Hannah Hidalgo was ordered mid-game to remove her nose ring (which she had worn during every game that season, including two NCAA Tournament games)

• Louisville losing a game after a foul meant to stop the clock was ruled as an intentional foul, awarding two free throws to the opposing team

• An official being pulled midgame during the NCAA Tournament’s first round last year because she held an advanced degree from one of the two schools playing. (Throughout this story, “official” is used to refer to a referee.)

“As we’ve continued to see the game grow, officiating is one of those areas that we have to continue to be very attentive to,” said NCAA VP of women’s basketball Lynn Holzman, “and make sure that, within the system that exists, we are providing the opportunities for the officials to grow and develop and get direct feedback, and then there’s accountability for that through the levers that exist for the NCAA. But it is a collaborative effort with us and the conferences.”

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Officials getting ripped by coaches and fans is nothing new. But with women’s college basketball exponentially more visible and popular than it’s ever been, the issue is reaching a tipping point. With the NCAA Tournament starting this week, could we see another high-profile mess? As one longtime official said, the sport’s officiating is at a “crisis moment.”

“It was exposed,” one Division I commissioner said.

The Athletic conducted more than 50 interviews with NCAA sources, administrators, coaches, players, commissioners and more than a dozen Division I current and former women’s basketball officials, many of whom requested anonymity to speak freely. Stakeholders within the sport painted a bleak picture: Currently, three people control more than 75 percent of the regular season officiating jobs; officiating styles are inconsistent across conferences; the system lacks a formal developmental framework and security for officials; and there has been limited transparency on almost every level.

“This is a five-to-10-year fix,” said one high-ranking administrator. “And we’re nowhere close to starting that.”


Iowa’s Caitlin Clark argues after receiving a technical foul during the 2023 NCAA championship game against LSU. (Maddie Meyer / Getty Images)

A concentration of power and lack of transparency at the top

While the NCAA oversees postseason tournament officiating, every conference is responsible for its own officiating during the regular season. Each has a supervisor — an independent contractor — who hires, assigns games, and evaluates and determines officials’ pay. Conference supervisors alone decide who should be considered for the NCAA Tournament.

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That makes conference supervisors arguably the most powerful people in college basketball officiating. In women’s basketball, there are three main players: Williamson, Patty Broderick and Lisa Mattingly. Mattingly and Broderick had long officiating careers, while Williamson worked in college coaching and education before becoming a supervisor. All have been widely recognized for their contributions to the women’s game.

Combined, working with their teams, they lead 22 of the 31 conferences, including all power conferences. On the men’s side, only one supervisor controls more than four conferences, and 10 supervisors oversee no more than two; no supervisor handles more than one power conference.

One longtime women’s basketball coach said of the trio: “It’s such a monopoly — on controlling the entire spectrum of officiating.”

A Division I commissioner added: “They each control their own little fiefdoms.”

Concentrated power isn’t inherently concerning, but when coupled with the lack of transparency in officiating, it has led to mistrust of the system by some within the sport.

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Advancing to the NCAA Tournament is seen as a career pinnacle for officials. It can also push them into higher tiers, where they earn more money. Officials who’ve advanced well into the tournament can earn roughly $4,000 per regular-season power conference game, while mid-major top tiers make around $2,000 per game. But getting to the NCAA Tournament depends on a process that happens behind closed doors.

Conference supervisors send watchlists (20 names per conference) three times during the regular season to Penny Davis, the NCAA national coordinator of officiating, and four regional advisors. The lists are private — even officials don’t know if they’re on them until they’re evaluated — and the NCAA can only evaluate officials included on them.

Multiple officials and coaches said the secrecy in this process has allowed for favoritism in the regular season — or at least the perception of it. Without a regulated and transparent system that shows why someone is receiving a certain schedule, or why an official is qualified for the postseason (or not), speculation has run rampant.

“There’s got to be more oversight of how the officiating is assigned,” said one longtime coach.

This lack of transparency in scheduling can cause particular frustration when conference supervisors select an official who is a family member, romantic partner or close friend. In the SEC, Mattingly oversees and assigns her longtime partner. The conference told The Athletic it believed those assignments were consistent with the officials’ credentials and reputation. Mattingly declined to comment.

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From 2018-24 (excluding the shortened 2020-21 season), Broderick’s daughter was the only official who averaged at least 80 games a year, a lucrative schedule, a number of them in conferences ultimately run by her mother — according to PhillyRef.com, an independent website that tracks officials’ assignments — but never officiated an NCAA Tournament game, a decision made separately from her mother.

A Big Ten spokesperson and Big 12 spokesperson told The Athletic that Broderick doesn’t oversee, assign or evaluate her daughter, who instead reports to her assistant coordinator. The Big Ten lauded Broderick’s “remarkable character and leadership.” The Big 12 said, “While we are consistently working to evolve our women’s basketball officiating and ensure it is best in class, we have been pleased with the evaluation structure and assignment processes Patty Broderick and her consortium utilize.” Broderick declined to comment.

Another issue raised by officials and coaches is that coordinators’ philosophies seem to be at odds.

Mattingly is quoted in the Women’s Basketball Hall of Fame as saying: “It is a fine balance between art and science in officiating. We don’t want a game where officials call everything they see.” But Williamson said last season that officials should call “all the rules all the time.”

So, which is it?

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“Some supervisors want to call it a certain way. Other supervisors don’t want you to call what you just worked the night before for another supervisor,” said one official. “It is challenging at times to adjust.”

Inconsistencies — from game-to-game, conference-to-conference and regular-season-to-postseason — were the biggest frustration for coaches interviewed by The Athletic.

That can become particularly evident in the postseason, when officials from different conferences are on the floor together.

What might you get in that scenario?

Something like a national title game between LSU and Iowa in which Caitlin Clark was called for a technical foul for delay of game while rolling the ball away on a dead ball situation and Kim Mulkey, who made contact with an official, was not.

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“You (had) three officials on two different pages,” said one official with 25 years of college officiating experience, adding: “Because we’re not trained the same … you’re going to get a different game when you have referees from different areas.”

When asked about whether officials from different conferences appear to officiate differently in the NCAA Tournament, Davis said she thought “that narrative or that line exists probably in all sports,” and that her emphasis is that officials should “enforce the rules as written.”


Notre Dame’s Hannah Hidalgo (with head coach Niele Ivey) missed more than four minutes of a 2024 Sweet 16 game when officials forced her to remove her nose ring, which she had worn without issue throughout the season. (Sarah Stier/ Getty Images)

No true development or feedback system

Officiating in that 2023 LSU-Iowa national title game didn’t just draw outrage from fans and media critiques; it also prompted the NCAA to fast-track an NCAA Tournament officiating review, known as the Pictor Report, that had been scheduled for the following year. For the report, the Pictor Group reviewed documents and conducted interviews that included Davis, conference supervisors and regional advisors, but did not interview any officials or coaches.

The Athletic viewed a copy of this six-page report, which said that the NCAA’s officiating program was “run with integrity.” The report offered six observations and identified areas to improve, including increased communication, tightening the watchlists (and urging the NCAA to “articulate clearer expectations for placing an official on the list”) and adjusting how the officiating crews were selected. Holzman said the NCAA has acted on the group’s recommendations.

In the ensuing months, the NCAA oversight committee, WBCA stewardship committee and a small group at the 2024 Final Four received briefings on the report. However, the full report was never made public or broadly shown to coaches and other key stakeholders. None of the coaches The Athletic interviewed for this story had seen a full copy of the report.

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“It’s disconcerting to know that whatever information was gleaned from that (report) has been kept out of the hands of coaches, athletic directors and anyone else,” UConn coach Geno Auriemma said. “I’d be curious as to why.”

When asked why the Pictor Report was never published publicly in full, like some previous NCAA reports (including the Kaplan report and a 2020 Pictor officiating report), Holzman said, “This was something that I asked to be done for the benefit of myself as I lead and direct in these areas.”

Officials hear frustrations from coaches, fans and players. Many say they need to be provided with better tools to do their job well. Namely: More feedback and a developmental system.

“I had no idea where I stood in any of this,” said one official with NCAA Tournament experience. “Tell me where I stand, so that I can make a change. … You don’t get that.”

Currently, there is no standardized on-court training for officials, nor do they get thorough and personalized reviews of their work. Even when Davis and regional advisors return comprehensive evaluations for NCAA Tournament inclusion, officials generally do not get to see them (with the exception of those in the MEAC, run by longtime NBA official Tony Brothers). Holzman said the NCAA is seeking “greater assurances that those evaluation reports are getting into the hands of the officials themselves.” Additionally, feedback given by coaches to conference supervisors after each game doesn’t get returned to officials.

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None of the officials interviewed by The Athletic had received play-call percentages from their conference or the NCAA. In-season, feedback mostly consists of time-stamped game clips, but whether or when officials receive those varies. Officials working for Williamson said they often receive clips several weeks after a game has passed.

The officials who spoke to The Athletic largely found the trainings and evaluations that are available to be insufficient, especially for mid-career officials, including a general, numbered feedback form from Broderick; crew-chief training from Mattingly (which needs to be attended only once); occasional video calls during the season with the NCAA and conference officials; and open-book quizzes during the season. To officiate in the NCAA Tournament, officials must attend a five-hour NCAA clinic (with no on-court training) and pass a 100-question, untimed, open book exam ahead of the season. In recent years, the NCAA has hosted a free clinic at the Final Four, geared toward early-career and lower-division officials, as well as an event for 100 officials at the college basketball academies.

Conference supervisors host summer camps for officials, and often market these as developmental opportunities. However, multiple officials said the feedback isn’t consistent across camps, and for many early- and mid-level officials, the camps can be barriers to advancement because of the cost (generally between $350 and $525). They fear that choosing not to go could result in a loss of assigned games and wages.

“If you don’t go to camp,” said one veteran official, “you set yourself back two years. … It’s pay to play.”

Most officials said the only way to know how they’ve performed in one season is to wait until they receive their schedule for the next season.

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“Are you getting more conference games? Are you getting better matchups?” said one official with more than 20 years of college experience. “If you lose a bunch, if you’re down 10 to 15 to 20 games, you need to figure out what you’re doing wrong. Unfortunately, that’s on us to figure out. We’re not told.”


UConn head coach Geno Auriemma argues a call during the 2022 NCAA Tournament. (Sean Elliot / NCAA Photos via Getty Images)

An uncertain path for officials

The NCAA has acknowledged it needs a larger pool of officials, but many officials say that uncertainty and inequities in salary and scheduling can make it a less appealing career.

In 2022, the NCAA began to pay officials the same amount for tournament games, but not all conferences pay women’s and men’s officials equally.

The Athletic asked all 31 conferences about officials’ pay equity. Nine conferences said they paid their men’s and women’s officials the same, five said they didn’t, six declined to disclose and the others didn’t respond to multiple requests. Of those offering equal pay, more than half said they had only started doing so in the past few years; the SEC, ACC, Big 12 and Big Ten pay their officials equally, but none would say how long that’s been the case.

Even with pay disparities, officiating can be a lucrative career for those with the busiest schedules. The most-used officials can earn more than $250,000 before expenses during the season, though many make significantly less (and work other jobs to supplement incomes).

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But as seasonal independent contractors, officials also accept uncertainty.

In September, officials rank the conferences that have hired them in order of which they most want to work for — but without knowing how many games they might receive or how much they’ll make per game in that conference. Ultimately, they don’t know their schedules, or how much they’ll earn that season, until a few weeks before tipoff.

Officials are paid a lump sum per game — all expenses come out of that. So, if an official is assigned to games within driving distance of their home, they’ll earn more than an official who has to travel and pay for flights, hotels, rental cars and meals.

Another scheduling frustration officials raised: more assignments for younger, less experienced officials. This season, one official with no Division I basketball experience got their first two DI games in the ACC, an unusually prominent assignment for an official at that level. Another inexperienced official’s games more than doubled recently from 27 to 66, going from no power conference games to 15. One official’s games jumped from two in their first season to 38 in their third season.

“The problem now is we are advancing young officials at way too quick of a rate,” said one veteran official of regular season officiating jobs. “And it’s not their fault.”

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Broderick, Mattingly and Williamson did not comment on less-experienced officials receiving heavier schedules.

In these scenarios, it’s often the more experienced officials who end up shouldering far more responsibility in games, which can tax their bandwidth and can lead to missed calls and lower morale.

“Then we start missing plays and the inconsistency begins,” said one former official. “It’s one thing to mentor officials who are moving into new levels, but mentoring is very different from teaching on the job — which is what is happening, and is very evident.”

Where does the sport go from here?

Through the embarrassments and frustrations, administrators, coaches and officials ask: Where does the buck stop?

The Pictor Report calls for greater communication and transparency in different systems, and many in the sport — coaches, officials, administrators — agree more clarity and communication is needed. The NCAA may have implemented the report’s recommendations, but that hasn’t included a consistent public response to officiating blunders the past few seasons, or ensuring that the broader basketball community is aware of steps taken to eliminate these errors.

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In 2016, after an incorrect call in the Sweet 16 kept Gonzaga’s men’s team from advancing, the NCAA called coach Mark Few to apologize for the mistake. Not so on the women’s side. A source close to Iowa confirmed that Davis never reached out to discuss the officiating in the 2023 NCAA title game. Auriemma said that he had never heard from anyone at the NCAA after a tournament game, including the divisive screen call at the end of the 2024 Final Four game against Iowa.

Coaches have made suggestions for improvement. Some mentioned adopting “two-minute reports,” similar to the NBA, which releases detailed reports on every call made in the final two minutes of games that were within three points (the WNBA does not do this). Others wanted to see transparency around play-calling percentages and how that corresponds to assignments.

Officials and conference sources said they’d like to regularly see game call percentages, ensure NCAA’s officiating evaluations get to officials, have more consistency across leagues and see more transparency in scheduling.

Davis said she also has suggested that conferences provide free summer training for staff officials. “As we’re investing in the game and investing in all parts of it, officiating shouldn’t be overlooked,” she said.

At a time when the game is better than ever, with television audiences hitting record viewership and attendance up across the country, getting officiating up to speed with the game should be the NCAA’s highest priority.

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“(Good reffing) is everything,” said one ACC coach. “To me, it’s the integrity of the game.”

(Illustration: Kelsea Petersen / The Athletic; Top photo: Jay LaPrete / 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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Culture

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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