Connect with us

Culture

Can MLB save the starting pitcher? The search for solutions to baseball's 'existential crisis'

Published

on

Can MLB save the starting pitcher? The search for solutions to baseball's 'existential crisis'

Who’s pitching tonight?

For 100 years, that wasn’t just a casual question. It was the question that defined baseball.

The answer always had a chance to give you goosebumps. Maybe it was Tom Seaver versus Steve Carlton. Maybe it was Sandy Koufax versus Bob Gibson. Maybe it was Pedro Martinez versus Randy Johnson.

They weren’t just a reason to watch. They were the reason to watch. They threw the first pitch of the game. They often stuck around to throw the last pitch of the game. When the stars hold the ball in their hands 100 times a game, from the first minute of a game to the last, that’s where so much of the magic comes from. But now, those nights of pitchers’ duel magic are slipping away.

Ten active major-league starting pitchers have won a Cy Young Award — and nine of them have spent time on the injured list in 2024. The only exception: Baltimore’s Corbin Burnes. But no need to remind you of all the aces who aren’t healthy enough to ace. There are larger forces at work here that are just as big a concern for the people who chart the future of this sport.

Advertisement

The issue is not only the health of the modern starting pitcher, but the role those starters play in the sport these days. Those two things are also connected. Here’s only one recent example:

May 6, Wrigley Field. San Diego Padres versus Chicago Cubs. Theoretically, this was one of those pitching matchups to savor: Yu Darvish, onetime Cubs ace, starting for the Padres versus Justin Steele, a 2023 All-Star and the Cubs’ 2024 Opening Day starter. But was it the stuff of goosebumps? No. The score at the end of five innings was 0-0. Both starting pitchers had allowed only three hits apiece … and, naturally, neither of them was still in the game. Seven relievers ate up the last 25 outs. Just another slice of baseball life in 2024.

True, both starters had spent time on the injured list this season, so they were being handled carefully. But those injuries — and how teams respond to them — are part of a crisis that seems to loom larger over baseball every year.

Should Major League Baseball sit back and let starting pitchers practically disappear? Should it let them recede in prominence, giving  away the essential entertainment value they’ve provided for the last century? Or should it act? Should the league step in to halt this trend the way it stepped in only one year ago, when it introduced a pitch clock before the sport arrived at a place where every game dragged toward a midnight finish?

“I think everybody agrees,” says Texas Rangers ace Max Scherzer, a three-time Cy Young winner currently working his way back from (what else?) another injury. “You’ve got to get the starting pitcher back. From an entertainment standpoint, people watch the matchups. That’s a big part of baseball. If you don’t have that matchup, every day is the same.”

Advertisement

Once every day becomes the same, is that when your sport is officially in trouble? Maybe that feels like a question for another day, another season. Except that in reporting this story, The Athletic talked with three longtime baseball executives who used the term “existential crisis” to describe the state of starting pitching.

When one of those executives was asked, as a follow-up question, if he honestly believed that term reflected the depth of this problem, he replied, pointedly: “I do. I think the game is totally broken from that standpoint.”

What could baseball do?

Let’s draw a football analogy. Suppose the analytics gurus in the NFL suddenly decided the best way to win a game was Quarterback by Committee … so every team rolled out four quarterbacks and Patrick Mahomes might never throw a pass in the fourth quarter of any game. How fast do you think that league would change its rules?

“It would outlaw that in about six minutes,” said one of the baseball executives interviewed for this story. All of them were granted anonymity so they could speak candidly about an issue viewed as especially sensitive in their sport.

But in baseball, the league has largely stayed out of the way as teams’ analytics departments took the sport down a similar road: Overload the roster with eight relief pitchers who can throw a baseball 98 miles per hour. Then stop waiting around for the starting pitcher to get tired. Get him out of the game and cue the parade of fireballers out of the bullpen.

Advertisement

The data may show that approach is the most efficient way to get outs. But the best baseball strategy isn’t always the best entertainment strategy. Inside most front offices, that’s not a major concern. But in reporting this story, The Athletic did find a few executives willing to ask why more of their front-office peers weren’t more worried about this trend.

“For the industry, it doesn’t have to be that way,” said one of them. “Can we take a step back and look at our sport from 20,000 feet?”

The league proved, with its rule changes a year ago, that it can act when it sees a crisis approaching. But has the starting pitcher crisis risen to that level? MLB officials declined to comment for this story. However, industry sources tell The Athletic that while the league views  this issue as a priority, it is still gathering information, via an extensive study of pitching injuries. So it is likely years away from taking action. And even then, some of those changes would need to be phased in over several years, because the repercussions would trickle down all the way to youth baseball, where the health of young arms is also a growing concern.

In the meantime, however, the brainstorming has already  begun. What rule changes could the league consider to help keep pitchers healthier and restore the prominence of the starter? The Athletic has spent the past few months collecting ideas proposed by executives, players and coaching staffs.

They all would address this issue. But they also were all met by so much fierce debate that it illustrated the challenge the league would face to get everyone on board with any of them.

Advertisement

“I think that’s why it’s hard,” said one American League exec. “There are no easy answers. If it were just one thing that we could easily turn a dial … there wouldn’t be a lot of really smart people at the club and league level trying to work on this. But it’s very complicated.”

Here are four potential rule changes you could see someday.

New rule idea: Every starter has to go six innings

Last year, the length of the average major-league start plunged to an all-time low: 15 outs (or five innings) per start. Not even starting pitchers themselves think that’s anything to brag about. So here’s a goal some in the sport would love to shoot for:

How about the starter goes six (or more) in almost every game — barring extenuating circumstances? Is that doable? Why not? That used to happen, you know, and not 100 years ago.

Advertisement

Even 10 years ago, as you can see in the graph above, the percentage of starters who made it through six innings wasn’t that dramatically different from what we saw  in the 1970s, a pitching era so golden that it produced 10 Hall of Fame starting pitchers. It’s only in the last five or six seasons that it began to change so significantly. So would it be outrageous to require that every starter get back to that six-inning standard — barring injuries, 10-run blowups, inflated pitch counts or other exceptions that could be negotiated later?

Why “require” it? Ultimately, the league might not push in this direction. But here’s why it might: The best rule changes are the simplest. So instead of a more subtle rule that the league might hope would lead to longer starts, it would take its best, simplest shot and just say: This is now the rule.

What would the penalty be? What would happen if a manager hooked their starter before six — and that starter didn’t meet any of those extenuating  circumstances? Good question. The league could say that pitcher had to be placed on the injured list. It could also impose discipline, via fines or suspensions.

Or what about a case like that Yu Darvish-Justin Steele game, in which both starters were being handled more cautiously as they built back from a previous injury? Sorry. The league probably would say that pitcher should still be on the IL working his way back on a minor-league rehab option.

Who would complain? Relief pitchers, obviously, would grumble about almost all of these ideas because this would dramatically change their job description — even if that’s the whole point. But almost every analytically inclined front office would complain just as loudly.

Advertisement

Why, they’d ask, should their teams be forced to push their fifth starter through the sixth inning when they have five unhittable relievers who could rescue him? And how can anyone be sure, they’d wonder, that even those fifth starters would be on board with this?

“It’s really hard to force pitchers to start and go (six innings),” said one exec, “because in my opinion, you’re going to get into all sorts of situations where you ask: Is someone faking an injury? How do they feel? Even if they’re not hurt, they might think: ‘They forced me to stay out there when I wasn’t effective and then I got hurt.’”

So it’s possible, even likely, that a rule requiring six-inning starts would be so harsh, it would gain very little support. If that’s the case, the league could pivot to rules that simply incentivize teams to push their starters deeper into a game. There are several options. Here’s one we’ve written about before.

New rule idea: The “Double Hook”

Unlike most of these ideas, the Double Hook already exists. The independent Atlantic League, a longtime testing ground for MLB rule changes, first experimented with this rule in 2018. Back then, here’s how it worked: When your starting pitcher leaves the game, your designated hitter also has to leave the game (or, at least, go play a position).

Advertisement

But after teams complained, the Atlantic League began tinkering. So by 2023, it used this version: If your starting pitcher leaves the game before the end of the fifth inning, only then does your DH have to leave with him.

What was wrong with the original rule? Would any team really prefer a rule that would keep its best hitter from ever coming to the plate late in a game? Think about all those dramatic walk-off October home runs David Ortiz once hit as the Red Sox DH. It will answer that question.

Why might the Double Hook actually work? You would be surprised by how many people in baseball like this rule. If the idea is to incentivize (but not require) keeping a starting pitcher in the game, what works better than this? Leave your pitcher out there or bench one of your most dangerous hitters? The concept is brilliantly simple.

Who likes it? Some of the most prominent starting pitchers in baseball — Scherzer, Justin Verlander and Adam Wainwright, among others — have been the Double Hook’s biggest public fans. But more front-office minds also seem open to this concept than many others they’ve heard.

“I have been in favor of the Double Hook for a while,” a National League executive said. “I think it would be interesting to have. It adds an extra element of strategy into the game for managers to think about, gives them another decision they have to make in-game, which I don’t think is a bad thing in general.”

Advertisement

Who hates it? The Designated Hitters of North America aren’t sold, for one thing. And one AL executive spoke for his fellow front-office critics when he called it “one of the worst ideas I’ve ever heard.”

“We want close games, right?” that exec said. “We don’t want blowouts. And if you’ve got the Double Hook, you’re going to have a boatload of blowouts. (If you lose your DH) you’re playing a man short, basically, like a soccer team with a player on a red card. Or you attempt to not play a man short, and the game gets out of hand because you’re trying to leave the starter in there for that extra hitter. Then that turns into three or four or five runs, and now you’re done.”

So is there an alternative to the alternative? At this point, everything is on the table. Scherzer, for one, sees no limit to possible incentives you could dangle to keep starters in the game.

“You could sit there and say: You get a free substitution,” Scherzer said. “You could pinch run for a catcher. You could make an instantaneous defensive replacement for an inning, you know what I mean? Keep upping the ante, if the starter goes out and does his job, how much extra stuff would you get as a benefit? So the idea would be if you pull your starter, you’re going to lose a ball game because you pulled your starter early.”


Of the ten active major-league starting pitchers who have won a Cy Young Award, all but the Orioles’ Corbin Burnes have spent time on the injured list in 2024. (Patrick Smith / Getty Images)

New rule idea: No more than 11 pitchers on the roster

Roster limits are another idea that has been tossed out there publicly, even by commissioner Rob Manfred. Two decades ago, teams got along fine with five- or six-man bullpens. So if those in-game rule changes don’t catch on, roster limits might move to the front of MLB’s line.

Advertisement

How would roster limits help starters? With eight relievers hanging out in your bullpen, what would stop a team from using four, five or even six a night? But if the league gradually drops the maximum number of relievers to seven, then six, then possibly even five, the value of a six-inning start — or longer — would skyrocket.

Why do front offices hate this? Many front offices think forcing fewer pitchers to bear the burden of so many innings is a recipe for even more injuries. And this furious debate sums up why there is so much disagreement over how to address this entire pitching crisis.

“There are people on one side of this,” one skeptical executive said, “who want to have less pitchers, make them pitch more … and I just don’t understand how that’s going to work. To me, rested pitchers are probably healthier pitchers. So our positions are totally misaligned with each other. And I’m not sure how to resolve this because we’re not seeing eye to eye at all.”

So why might it still make sense? The small group on the other side sees this so differently. Too many teams, one of those executives said, are ignoring the ripple effects of regularly pulling starters for a fresh reliever at the first opportunity, then mixing and matching relievers every time the data says so.

“You’re not just playing one game,” that exec said. “And you’re not just playing one inning. There are consequences. And the consequences are that you’re going to fry your bullpen by mid-summer, let alone September and October.”

Advertisement

New rule idea: Outlaw the sweeper 

Why are so many aces getting hurt? It’s a complicated problem, but let’s think it through.

If you’re a dominating starting pitcher in this era, it probably means you throw harder than the average pitcher. You create more spin and movement than the average pitcher. And you probably have some dominant pitch — or more than one — that most other pitchers can’t throw, or you just added one.

Now draw up the factors most injury experts point to as most likely to cause catastrophic arm injuries: Velocity … check. Spin … check. Throwing pitches that cause the most stress on the human arm … check.

So would MLB be out of line to make it illegal to throw one of those pitches it viewed as hazardous to pitchers’ health? Could it possibly act to ban a pitch like the sweeper, which has been identified as a source of undue stress on the elbow? That may sound radical, but what if MLB’s study of pitcher health recommends the league wipe out dangerous pitches the way it banned home-plate collisions a few years back?

Why a sweeper ban isn’t as extreme as it sounds: One executive said he wouldn’t be shocked if the league actually did ban a pitch or two someday.

Advertisement

“What if they came to the conclusion, empirically, that the sweeper is a dangerous pitch, and it’s leading to a lot of pitching injuries?” he mused. “To me, it’s not crazy that (MLB) would consider outlawing it, because there’s lots of dangerous behavior that is not allowed on the field because it leads to injuries.”

Could the league even target high velocity? If the league is so concerned with pitches it views as dangerous, could it even look to tone down velocity itself? If it can’t agree on other changes that would force pitchers to take their foot off the gas in order to go deeper into games, one idea that has made the rounds is this shocker: Make it illegal to throw any pitch over 94 mph.

Don’t bet on that one happening. But a subtle element of many of these ideas is to motivate pitchers to pitch at less than max velocity. And that’s a volatile topic unto itself.

We mentioned to one pitcher we spoke with that rule changes are being discussed that would incentivize, or even require, pitchers not to throw every pitch at max velocity. He was borderline livid at that whole idea.

“That would be like telling an NFL running back not to run as fast as he can on every run,” he said. “That’s ignoring the competitive side of it.”

Advertisement

He’ll be heartened to know that many baseball executives agree.

“I don’t know what incentive structure we can create,” said one of those execs, “that’s going to actually convince athletes to not try and throw as hard as they can. Because they know with certainty that they will be better pitchers, even for a short amount of time, if they do throw hard.”

He’s not wrong. But is it time for MLB to step in anyway? Is it time for Manfred to tell all those pitchers: We feel your pain — literally. But we can’t let you do it that way anymore because this injury rate is just not sustainable?

In a sport that has always been slow to change, it’s easy to find people who would tell the commissioner: Please stay out of this. But remember that term, “existential crisis”? One executive who used those words says it’s time to heed them. This latest rash of pitching injuries represents more than just bad luck, he said.  It’s a warning siren begging everyone to act.

“What if it gets worse?” that exec wondered. “It’s easy to say everything’s fine, and it’s all fun and games, until you look up and the product is truly horrible because no one has enough pitching. So it’s going to take someone to say, ‘All right, listen, guys. We can keep lying to ourselves, but this sport is broken. And we have to change it.’”

Advertisement

Additional reading

  • People in the industry came up with solutions for baseball’s starting pitching “existential crisis.” Some of them are extreme.
  • Justin Verlander and Max Scherzer, two of the sport’s most prominent pitchers, weigh in on the crisis.

 (Top image: Eamonn Dalton / The Athletic; Photos: J. Conrad Williams, Jr./Newsday RM via Getty Images; Matthew Grimes Jr. / Atlanta Braves via Getty Images)

Culture

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

Published

on

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

Advertisement

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.

Advertisement

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.

Advertisement

Wallace Stevens in 1950.

Advertisement

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?

Advertisement

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.

Advertisement

Continue Reading

Culture

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

Published

on

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

Advertisement
Advertisement
Advertisement
Advertisement

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.

Advertisement

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.

Advertisement

“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.

Advertisement

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.

Advertisement

This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

Advertisement

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.”

Advertisement

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

Advertisement

“You’re just a kid,

Gordie–”

Advertisement

“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

Advertisement

if I was!

It’s like

God gave you something,

all those stories

you can make up,

Advertisement

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

Advertisement

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?

Advertisement

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.

Advertisement

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.”

Advertisement

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.

Advertisement

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.”

Advertisement

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

Advertisement

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

Advertisement

They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

Advertisement

I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

Advertisement

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,

Advertisement

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.”

Advertisement

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.

Advertisement

“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.

Advertisement

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.

Advertisement

“The Body” Read by Wil Wheaton

“Will you shut up

Advertisement

and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

Advertisement

Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

Advertisement

“It’s not really much—”

“Naw,

we don’t expect much

Advertisement

from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

Advertisement

“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

Advertisement

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.”

Advertisement

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.

Advertisement

“I feel the loss.”

Wheaton remembers River Phoenix.

Advertisement

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.

Advertisement

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

Advertisement

Near the end

of 1971,

Chris

went into a Chicken Delight

Advertisement

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.

Advertisement

One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

Advertisement

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.

Advertisement

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.

Continue Reading

Culture

Do You Know the Comics That Inspired These TV Adventures?

Published

on

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.

Continue Reading

Trending