Connect with us

Culture

'Comfortable being mediocre': Why the Pirates keep losing

Published

on

'Comfortable being mediocre': Why the Pirates keep losing

A decade ago, then-Pirates general manager Neal Huntington presented ownership with plans for $8 million in upgrades to the club’s spring training facilities in Bradenton, Fla. The project would include constructing a 12,240 square-foot performance center to replace a weight room a tenth that size, and expanding a home clubhouse that was the oldest remaining building at a ballpark built in 1923.

Huntington asked for additional funds from ownership to cover the cost. Owner Bob Nutting, according to three sources, told Huntington the money would have to come out of the existing baseball operations budget, which covers everything from scouting to player development to salaries. The $8 million ultimately was drawn over time from the major league payroll.

“That’s what happens,” a former front-office employee said. “Bob is still Bob.”

Nutting, whose family made its money owning newspapers before buying a ballclub and ski resorts, has always asked his management team to do more with less. The Pirates’ 76-win 2023 campaign was 14 wins better than 2022, but still marked their fifth consecutive losing season. Regardless, Nutting says he expects a “meaningful step forward” in 2024. “We collectively believe we can compete for the division and a postseason berth,” he told The Athletic.

But as Ben Cherington, who replaced Huntington, enters his fifth season as Pirates GM, the Pirates are projected to finish last in the NL Central. Their farm system is ranked ninth by The Athletic’s Keith Law, but the Brewers, Cubs, Cardinals and Reds also are in the top 15. And though the Pirates have signed seven free agents this offseason, every other team in the division has spent more.

Advertisement

To win with a low-budget model requires excelling in all areas of player development. But conversations with more than 20 current and former players, coaches and club officials, some of whom were granted anonymity in order to speak freely, revealed numerous issues plaguing the Pirates: Years of misses in the draft and amateur international market. Conflicts between old- and new-school philosophies in the coaching ranks. Distrust among some players in the development process, including a situation last season in which third baseman Ke’Bryan Hayes secretly sought help from the Pirates’ then-Double A hitting coach, who the team let go a short time later. Most of all: A front office handcuffed by a frugal owner.

Nutting, whose estimated worth is $1.1 billion, became the club’s principal owner in 2007. Since then, the Pirates have had a bottom-five Opening Day payroll all but three years: 2015 (24th of 30 clubs), 2016 (20th) and 2017 (24th). The four largest contracts in club history — Bryan Reynolds, Hayes, Jason Kendall and Andrew McCutchen — combined are still almost a half million short of the $288.7 million the Royals recently guaranteed Bobby Witt Jr.

“I’ve been in some meetings where my jaw dropped because we had to wait a day to trade a guy because it was going to save us $30,000,” a former instructor said. “I was like, ‘Oh my God, I can’t believe I’m hearing this.’ This is a $10 billion industry.”

The Pirates ended two decades of losing and made the playoffs in 2013, 2014 and 2015, but the fact that they began 2016 with their highest payroll ever, $99.9 million, obscured the fact they’d lost a parade of veterans without adding any impact players. Payroll declined in each of the next five seasons, dropping as low as $45.2 million in 2021. Players felt Nutting had a chance to double down on winning after 2015, and didn’t.

“He pulled out so quick,” a former player said. “He was kind of comfortable stepping back and being mediocre. That permeates. That’s just what the organization is.”

Advertisement

Pirates team president Travis Williams, in introducing Cherington as Huntington’s replacement in November of 2019, said, “We needed to find a great baseball mind to crack the code in order to be successful in a market like Pittsburgh within the economics of baseball. Others are doing it. We will do it.” Cherington, working under different financial circumstances, had led the big-market Red Sox to a World Series title in 2013.Nutting had cleaned house — parting with Huntington, manager Clint Hurdle, president Frank Coonelly (who resigned), and more than $10 million in buyouts — because he felt the Pirates had fallen behind. He cited more creative, dynamic and innovative models working in Tampa, Milwaukee and Houston. “We need to be back out on the cutting edge,” Nutting said.

The club Cherington inherited in Pittsburgh had been weakened by missing on high draft picks, whiffing entirely in the international amateur market, and failing to transition prospects into big leaguers. For Cherington, cracking the code meant reversing all of this.

But many of those issues remain.

In 2011, the Pirates spent a record $17 million in the draft, shattering the league’s previous high by more than $5 million, and landed Gerrit Cole (first overall), Josh Bell (second round), Tyler Glasnow (fifth round) and Clay Holmes (ninth round).

The league introduced bonus pools the following year to curb draft spending, and since then the Pirates have had shockingly little draft success. Of the 71 players they have drafted in the top five rounds and signed since 2012, only four have produced at least 1 WAR for the Pirates: Hayes (12.5 WAR), Mitch Keller (4.1), Kevin Newman (3) and Jared Triolo (2.1). The Orioles have drawn more total value from just their top two draft picks in 2019: Adley Rutschman (9.6 WAR) and Gunnar Henderson (7.1).

Advertisement

Under Cherington, the Pirates have spent 14 of their 21 picks in the first five rounds on pitchers, so their farm system is now front-loaded with arms, led by last year’s No. 1 overall choice, Paul Skenes. That approach makes sense; starting pitching is the most expensive asset to acquire in today’s game. But few position player prospects are prepared to fill out the lineup. Termarr Johnson, the No. 4 pick in 2022, projects to be a future starting second baseman. But serious questions persist about whether Henry Davis, the No. 1 pick in 2021, has either the defensive ability to stay at catcher or the bat to stick in a corner outfield spot.

Cherington believes the Pirates will end up with multiple major-league contributors from his four drafts, and possibly more. Yet in November, the team reassigned Joe DelliCarri, who had run its drafts since 2012, to a new position and hired Justin Horowitz, who had been with the Red Sox, as director of amateur scouting.

On the international side, the club has not developed an amateur free agent into a consistent impact player since Starling Marte, who first signed in 2007.

“It is incredibly difficult to find and project players at such a young age within Latin America,” said Nutting, noting that “we know that we need to be excellent in identifying, acquiring and developing players in Latin America.”

Nutting said the Pirates are among the top few MLB clubs in spending on development. While those numbers are not publicly available, team sources found that assertion to be credible. But, too often, that spending has not resulted in prospects becoming big leaguers.

Like Huntington, now a Guardians special assistant, Cherington’s regime has struggled to transition prospects to the big leagues: Nick Gonzales, Quinn Priester and Roansy Contreras, among others. Their clearest development win is Keller. The former top prospect had 6.12 ERA in his first 46 big league starts, and has a 3.83 ERA in 54 starts since then. He was an All-Star in 2023.

And yet the velocity spike and arsenal change that unlocked Keller’s ceiling came from an independent pitching lab in North Carolina.

Advertisement

Most Pirates who achieve success are traded before they reach free agency. A former team employee recalled a strange sense of urgency in the front office in January 2018 to trade Cole, the staff ace who still had two years of club control remaining. “It was a little frantic,” the evaluator said. “That was the priority. It was like, why?” The Pirates traded Cole and his $6.75 million salary to Houston for four players, but no top prospects. “It was almost like, we have to get rid of that money,” the evaluator said.

Cole, now the Yankees’ ace and reigning AL Cy Young winner, has spent more of his major league career out of Pittsburgh. But he’s sentimental about the three playoff seasons he experienced there.

“I saw how much the Pirates mean to the city and the people of Pittsburgh,” Cole said. “I so badly want them to have that relationship with their team again. It just means so much to those fans. It really does.”



Ke’Bryan Hayes hit .318 with 10 homers and a .933 OPS in almost two months working with minor-league coach Jon Nunnally. (Alex Slitz / Getty Images)

The secret sessions that saved Ke’Bryan Hayes’ 2023 season took place at a private hitting facility in the Pittsburgh area. The Pirates third baseman was on the injured list last July, stewing about being a below-average hitter since 2021, when he decided to take action.

“I was trying this and that,” Hayes said, “and it wasn’t working. I was just like, I don’t feel like being frustrated anymore.”

Advertisement

So he called “Nunns.”

Jon Nunnally, a former big league outfielder, was the hitting coach at Double-A Altoona, the Pirates affiliate about 100 miles from Pittsburgh. When Nunnally, 52, joined the organization in 2019, Hayes’ father, Charlie, an old acquaintance and 14-year major-league veteran, told Ke’Bryan: “He knows what he’s talking about.”

Pirates hitters long had lobbied to work with Nunnally. One former player said, “Everyone in the organization had been going to him for (information) forever.”

“He barely knows how to turns on his computer,” a former instructor added, “but that son of a gun can teach approach.”

Ke’Bryan Hayes and Nunnally first worked together at the Pirates’ alternate site in 2020. Hayes, 27, debuted that September and was National League Rookie of the Month. After only limited contact with Nunnally in 2021 and 2022, Hayes said he made it clear to the club that he would work again with the coach last spring. But once the season began, Nunnally returned to the minors and Hayes struggled anew.

Advertisement

In August, he started meeting weekly with Nunnally. In Hayes’ mind, reuniting with Nunnally after he had slumped in the first half made perfect sense.

“I didn’t want to ruffle any feathers,” Hayes said. “But then it got to a point where it’s just like, you know what? This is my career. At the end of the day, I’ve got to do what’s best for me.”

Both Hayes and Nunnally said they took pains to keep their sessions confidential. “No one really needed to know about it,” Hayes said of his time with Nunnally. “He was secretly helping me help the team. So it helps everybody. That was the way I looked at it. No harm, no foul.”

The sessions proved fruitful. In almost two months working with Nunnally, Hayes hit .318 with 10 home runs and a .933 OPS.

Cherington declined to comment on Nunnally specifically, but said the Pirates are not necessarily opposed to players working with personal coaches. “Many, many major-league players work with different coaches at different times of the year. We support this and we’ve seen many examples of effective collaboration between our major-league coaches and other perspectives,” he said.

Advertisement

However, Nunnally said when the Pirates eventually learned of the sessions, “For sure they were upset.” And when word that the star infielder sought help from a minor league coach was reported by the Post-Gazette, it looked to some like going behind the back of Pirates hitting coach Andy Haines, who already was taking heat from the fanbase for the team’s offensive collapse.

“I didn’t want to cause any problems for anyone,” Nunnally said.

But then, during the last week of the regular season, the Pirates let Nunnally go.

Hayes, who in April 2022 signed an eight-year, $70 million contract, the second largest in franchise history, said he conveyed to Cherington and manager Derek Shelton that he was upset by Nunnally’s departure. His relationship with the coach will continue; Nunnally, after turning down an offer to be Double A hitting coach for the Nationals, said he plans to work privately with Hayes and others.

The move, part of a trend under Cherington of replacing some veteran instructors with less experienced, more analytically savvy replacements, reflected a divide in the Pirates’ approach to player development. (A number of executives and instructors left voluntarily.)

Advertisement

“We had guys who lacked — and when I say lacked, it’s an understatement — experience in leadership,” a former instructor said.

“I’m not saying you need 10 years in the big leagues to be qualified,” a player said, “but you do need to have a certain level of teaching, understanding and communication that fit for players at the professional level.”



Gerrit Cole started the Pirates’ last postseason game in front of a packed PNC Park in 2015. The team has only finished above .500 once since then. (Jared Wickerham / Getty Images)

Before the start of the 2021 Triple-A season, the Pirates asked outfielder Jared Oliva, shortstop Cole Tucker and infielder/outfielder Kevin Kramer to remain at their spring-training site in Bradenton, Fla., for what they called “hitting school.”

Oliva, Tucker and Kramer all had struggled in the majors as hitters. The Pirates wanted them to work with Bart Hanegraaff, a native of the Netherlands who joined the organization under Huntington as a consultant and in 2020 received a promotion from Cherington to be “head of methodology.”

Hanegraaff, 35, specializes in training players to move their bodies more efficiently, employing methods taught by Frans Bosch, a movement expert the Pirates have used to instruct their coaches. Under Cherington, Hanegraaff rose to greater prominence, emerging as an influential voice in the Pirates’ hitting program.

Advertisement

Tucker, skeptical of Hanegraaff’s teaching, told the team he would only remain in Bradenton if Nunnally accompanied him, according to Nunnally and two other sources. Nunnally monitored as Hanegraaff ran the players through core exercises, twists, jumps and aqua bag workouts.

“I was there to just watch,” Nunnally said. “All I could do was say, ‘Listen, it’s great that you can do all these movement things. But you’ve still got to be able to perform in a game. The plan and approach has got to be there.’”

The Pirates at the time did not reveal the sessions to the media, advising the players to keep them “hush-hush.” The sensitivity on all sides highlighted the growing tension in the organization as Cherington introduced new coaches and concepts.

While declining to comment specifically on Hanegraaff or any other employee, Cherington said, “We’re fortunate to have a lot of great expertise in our coaching group and we aim to be open and inclusive about where that expertise comes from.” He added, “While playing games in the minor leagues will always be important, there are times when stepping away from the games and engaging in some intentional practice can have great benefit.”

Some players, however, lost trust in the Pirates’ approach to player development, as the blending of old- and new-school philosophies sent mixed messages and disrupted their progress. And from a player’s perspective, one former instructor said, “the one thing you can’t afford to do in this game is lose time.”

Advertisement

Another former instructor, recalling a presentation Hanegraaff and minor-league hitting coordinator Jonny Tucker gave in 2021, said, “All you heard was, ‘the move, the move, the move,’” meaning, the move to the baseball as a hitter began his swing.

The premise was that if a hitter moved into the right position, he would be better able to see the ball and make swing decisions. Another former coach who attended the presentation considered that logic sound. The problem, both coaches said, was Hanegraaff and Tucker made no mention of rhythm, balance, timing and thought process, all of which also are essential to hitting.

“I love Bart. He has a place in a major-league organization,” one of the instructors said. “But he can’t be in charge of the hitting program.”

Such tension is not unusual when clubs become more analytically driven. Even some who were part of Huntington’s regime acknowledge the team had fallen behind in technology, and needed to modernize. Young players accustomed to tech welcomed Cherington’s introduction of pitch-tracking devices. One former Pirates pitcher said the shift in the team’s processes “definitely felt much more collaborative and a lot fresher.”

But several former players and coaches said the Pirates went too far in their emphasis on data and technology.

Advertisement

“A lot of it was pitch design and pitch shapes and percentages of pitch usage, as opposed to, what is the hitter telling you? What is the game telling you?” said Joel Hanrahan, a former major-league reliever who was a minor-league pitching coach with the Pirates from 2017 to ‘21 before moving to the Nationals.

A former Pirates hitter agreed, saying, “With the new regime, everyone was trying to have the new best thing. They kind of lost sight of players as people.”

Other adjustments created confusion in other areas.

Cherington’s regime gave minor leaguers more freedom than they experienced under Huntington. Players, after years of toiling under strict rules, were encouraged, one former Pirate said, to “be you, the person you’ve always been.” While many players welcomed the changes, a former pitcher said of Huntington’s regimen, “It made us get our s— together. And it made us good pros.”

“I think the intention was fine,” a former instructor said. “The problem is you went from zero to a hundred.”

Advertisement

For some minor leaguers, the transition to the majors, where greater professionalism was expected, became problematic. One former player called it, “a weird divide.”

“They’d say, ‘Wear what you want. Be relaxed. Wear your chains,’” the player said. “And then guys started to go up to the big leagues for the first time, and all of a sudden they’re getting a message in the player messaging system: ‘Hey, guys, you’re in the big leagues. No backwards hats. Look the part.’”

Even in the majors, the Pirates were not always buttoned up. Two on-field incidents in the final two months of the 2022 season drew national attention. A cell phone fell out of infielder Rodolfo Castro’s pocket as he slid into third base. And Hayes was captured on camera standing with his glove off at third and reaching into his back pocket for sunflower seeds as the Mets’ Eduardo Escobar rounded the bag to score.

Both players took responsibility, but Hayes said the 2021 and ‘22 Pirates teams lacked “a veteran presence to hold people accountable.” Hayes viewed the return last season of McCutchen, 37, as a needed addition. But the team McCutchen rejoined was radically different from the one he’d left in 2018.


Teams that struggle in drafting and player development often use free agency to overcome those shortfalls. But the open market is the area in which Nutting’s frugality is most glaring. Under Nutting, the Pirates have spent less in free agency than any other club. Their record contract for an external free agent — two years, $17 million for Russell Martin in 2012 — is $13 million below any other club’s record free-agent deal.

Advertisement

The Pirates have not signed a multi-year free-agent contract since Daniel Hudson in 2017. Nutting has referred to free agency as “the hardest, most challenging and most inefficient marketplace in baseball,” and many executives agree. Still, the Pirates have taken frugality to an extreme.

The Pirates have spent slightly more than $30 million this offseason — less than the Brewers gave Rhys Hoskins — on veteran free agents Aroldis Chapman, Rowdy Tellez, Martín Peréz, Yasmani Grandal, Josh Fleming, Ali Sánchez and McCutchen, all on one-year deals, then added Marco Gonzales and $3 million of his salary in a trade.

Chapman’s $10.5 million contract was the largest average annual value the Pirates have ever given an external free agent. The MLBPA filed a grievance in 2018 against the Pirates, Marlins, Rays and A’s for not spending revenue-sharing money as intended; the matter is still pending.

The Pirates’ projected Opening Day payroll is $81 million, ahead of only the A’s. Asked whether payroll will continue to climb in the coming years, Nutting said, “We have and will continue to invest into the club in the most effective and efficient way possible to bring a winner in Pittsburgh.”

Asked whether he would authorize a multi-year free agent deal with an average annual value in the $15 to $20 million range, Nutting mentioned the Hayes and Reynolds extensions and said, “The most impact on winning in Pittsburgh will always come from the continued improvement of the players that are (on) our roster and in our system.”

Advertisement

For all the Pirates’ shortcomings, their roster has improved, and the division lacks a dominant power. Oneil Cruz is back at full strength after missing most of last season with a fractured fibula. “That will be huge for our lineup,” Hayes said.

“I feel like this year our division is up for grabs,” Hayes continued. “We’ve just got to be hungry, coming into the spring. We’ve got to bring it every day (and) not give in when times are tough.”

Cherington is approaching the same crossroads Huntington reached during his tenure. Huntington, having nearly been fired after a 2012 collapse, broke through in 2013 as the Pirates reached the playoffs for the first time in two decades. Pressure is mounting now for Cherington to follow a similar path.

“Our goal is to build a championship caliber team in a way that is sustainable and fits Pittsburgh,” said Cherington. “We have the resources to do that, and we have to execute.”

Nutting has set the expectation at contention, even while providing limited resources.  

Advertisement

“At some point you need to get some horses to run in the derby,” a former evaluator said.

“It comes down to ownership saying, ‘When are we going to go for it and spend money?’ That’s always been the underlying issue.

(Top image: Eamonn Dalton / The Athletic; Photos: Mike Carlson / MLB Photos via Getty Images; Mark Alberti / Icon Sportswire via Getty Images; Orlando Ramirez / Getty Images; Joe Sargent / MLB Photos via Getty Images)

Advertisement

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

Culture

Video: Our Spring Book Recommendations

Published

on

Video: Our Spring Book Recommendations

new video loaded: Our Spring Book Recommendations

A few editors from the New York Times’s Book Review give their recommendations for what new releases you should be reading this spring.

By Jennifer Harlan, MJ Franklin, Joumana Khatib, Edward Vega and Laura Salaberry

March 19, 2026

Continue Reading

Trending