Culture
Darvin Ham, Lakers players struggling to connect on lineup and rotations: Sources
LOS ANGELES – Following their ninth loss in 12 games, the Los Angeles Lakers have hit a new nadir in their season, amplifying concerns about the direction of the season from both inside and outside the organization.
There’s currently a deepening disconnect between Darvin Ham and the Lakers locker room, six sources with direct knowledge of the situation say, raising questions about the head coach’s standing. The people spoke with The Athletic on condition of anonymity so that they could speak freely on the matter. Those sources have described that the disjointedness between the coach and team has stemmed from the extreme rotation and starting lineup adjustments recently from Ham, leading to a fluctuating rhythm for several players across the roster.
The Miami Heat, playing without superstar Jimmy Butler, beat the Lakers 110-96 at Crypto.com Arena on Wednesday. The loss dropped Los Angeles to 17-18 — the first time they’ve been below .500 since Nov. 11 — and put them just .001 percentage points above the Golden State Warriors for No. 10 in the Western Conference. The Lakers are 3-9 since winning the In-Season Tournament in Las Vegas on Dec. 9. They’ve lost three games in a row, and Wednesday night’s defeat led to rising turbulence.
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In the latest attempt to turn around LA’s skid, Ham used his 10th starting lineup of the season and third in three games: Austin Reaves at point guard, Taurean Prince at shooting guard, Cam Reddish at small forward, LeBron James at power forward and Anthony Davis at center. The Lakers were minus-3 in the 13 minutes the group played together Wednesday against Miami.
The latest lineup change continued a troubling trend as the Lakers have struggled to determine their best lineups or establish continuity this season, regardless of how healthy the team has been. The concern has only grown in recent weeks.
Ham’s decision to bench D’Angelo Russell and start James, Prince, Reddish, Jarred Vanderbilt and Davis in a lineup without a second guard ballhandler beginning Dec. 23 in Oklahoma City was considered a head-scratcher by multiple parties internally, according to sources spoken to for this story.
The Lakers championed their continuity all summer, including bringing back their top-five scorers from the Western Conference finals run (James, Davis, Reaves, Russell and Hachimura, in that order). But more than a third of the way into the season, three of those players – and the team’s third-, fourth- and fifth-highest-paid players in Russell, Hachimura and Reaves, respectively, at that – were coming off the bench. Reaves has been coming off the bench most of the season despite being touted by Ham as a future All-Star over the summer and ranking third on the team in scoring, Russell’s role has shrunk since Las Vegas, and Hachimura’s playing time vacillates on a nightly basis.
After the loss Wednesday, the locker room opened up before Ham addressed the media, which is rare. Davis spoke first, in a soft-spoken, dejected manner, declining to use injuries as an excuse.
“It’s a little bit of everything right now,” Davis said. “We’re not executing. That team played harder than us tonight, executed better than us tonight, more physical than us tonight. We got outworked tonight. So it’s a bit of everything right now. If we keep on this trend, it’s not going to be good for us. So it’s kind of obvious that we have to figure it out sooner than later.
“Guys being out is not an excuse. There are no excuses for us. Like coach said (pregame), we have enough in this locker room to win but we just have to go out and compete.”
During Davis’ availability, James, whose locker is right next to Davis’, dressed and left the locker room without speaking with reporters.
Ham eventually spoke with the media 30 minutes after the buzzer. He continued to state that the Lakers, despite having James, Davis, Reaves and Russell for all but eight games combined, aren’t going to “find any consistency” until they get fully healthy. Hachimura (left calf strain), Russell (tailbone contusion) and Gabe Vincent (left knee surgery) are the three players currently injured.
“We’ve got to get healthy,” Ham said. “… And once you get healthy, guys got to get back into rhythm and we’ve got to find a cohesive unit, a total cohesive rotation that we can go with. When you’re dealing with different guys being in and out of the lineup that frequently, it’s damn-near impossible to find a rhythm. That’s just being real. That’s no slight on anybody.”
Ham then went as far as to suggest that it’s easier to play without a star – like the Heat have been without Butler – than for a team to have multiple rotation players in and out of the lineup, as the Lakers have had for a majority of the season.
“I think the multiples (rotation players) are more impactful than … if you lose one of your big dogs, you’re going to figure out how to try and manage without them,” Ham said. “… And when you have your key role players, your key rotation players – this guy misses three or four. This guy misses three or four. And they’re happening one right after another, that’s what makes it difficult. … We’ve got to figure it out. I’m disappointed, but I’ll be damned if I get discouraged.”
When asked if he would consider going back to the team’s original starting lineup of Russell, Reaves, Vanderbilt, James and Davis, Ham said the team is considering every possibility.
“I think everything is on the table that makes sense,” Ham said. “No stone shall go unturned. We’re here to explore whatever we can to right the ship.”
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Meanwhile, Reaves, who spoke after Ham, echoed a similar sentiment to Davis, saying the team can’t use fluctuating lineups as an excuse.
“Regardless of what the lineup is, what change is, whatever happens, we got to be better as a team and go win games,” Reaves said. “We’re more than talented enough to win games. We have enough depth. We have enough skill. We got to figure it out.”
The perspective from Davis and Reaves in comparison with Ham’s highlight the discrepancy between how the locker room feels about the team’s current issues versus how Ham has cited injuries, schedule and lineup changes amid the team’s inconsistency, particularly since the IST.
Ham confirmed postgame that the team had a team meeting afterward, which is partly why the locker room took so long to open. By the time Davis spoke with the media, the rest of the players in the Lakers’ locker room had cleared out. Reaves said the vibe in the locker room is “sh—y.”
“We’re losing,” Reaves said. “Anytime you lose, the vibe should be off, you know? If I went in there and the vibe wasn’t off after the rough stretch that we’ve had, then I’d be concerned.”
He later clarified that the atmosphere is not a matter of the players disliking one another, which was a notable distinction considering where the locker room was at this time last season.
“When I say the vibe is off, it’s not like we don’t like each other,” Reaves said. “It’s we’re losing. We should be pissed off. We shouldn’t be happy after games with how we’re playing. But I don’t want to get that twisted on us not liking each other. Everybody in the locker room gets along.”
These Lakers have gone through their share of adversity through Ham’s nearly two years as head coach, including a 2-10 start a season ago that finished with a Western Conference finals berth. So Ham, in the second year of a four-year coaching contract, has shown an ability to get through to his players. But time is of the essence around the 39-year-old James and Davis, and as Ham has tinkered with lineups and adjustments across the past few weeks, patience is beginning to run thin.
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(Photo of Darvin Ham: Harry How / Getty Images)
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.
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