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Dyson Daniels, Tyler Herro and 8 more players to know from NBA season’s first few weeks

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Dyson Daniels, Tyler Herro and 8 more players to know from NBA season’s first few weeks

Dyson Daniels went 3 of 16 against the New York Knicks last week. It was amazing.

Let me explain.

First, it was a career-high in shot attempts. Second, he took the 16th even after making just three of his first 15. And he did it with a minute left in a one-point game.

That shot missed, too, but that’s hardly the point. After two seasons in New Orleans, Daniels’ rep upon arriving in Atlanta this summer was that his confidence came and went, and if he missed a few shots, he’d start pulling the ball down and pass up shots entirely. Despite flashing amazing defensive talent, his inability to be a consistent threat on the offense was keeping him off the court.

It wasn’t just that he was shooting 31 percent from 3; it was that his microscopic 12 percent usage rate meant defenses could disregard him entirely. So far, in Atlanta, things are very different. Daniels took the rock with 70 seconds left against New York and made a hard, downhill drive for a pull-up floater that missed. Three makes on 16 attempts. And it didn’t stop him.

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Daniels set another career high the next night by shooting 17 times. Two games later, he took 21 shots, scoring a career-high 28 points in Atlanta’s Trae Young-less upset of world champion Boston on the Celtics’ home court.

Daniels’ defense has drawn all the attention in the early season, and deservedly so. But the underrated part of his breakout season has been the confidence he’s played with on offense, shrugging off misses and coming back to let it rip on the next trip. The record scratches from New Orleans are a thing of the past.

Hawks coach Quin Snyder talked about this topic and how it applied to Daniels before the season. It’s worked out almost exactly as he said then.

“I think a lot of it is situational,” Snyder said. “Usually guys are more confident when they can anticipate that they’re going to have a shot. If you get the ball and then you want to decide, (in) that moment, your conscious mind takes you out of rhythm. Especially for younger guys, if they’re concerned about whether the ball is going to go in or not, that’s not the best thing. It’s more than a green light. It’s understanding situational shooting, knowing that it’s not only a green light but you have to take that shot. It’s important for you to shoot that whether you make or miss.”

Snyder has seen a version of this movie before, coincidentally, with another young Australian who was reluctant to shoot. He had Joe Ingles in Utah when Ingles was a gun-shy rookie; Ingles didn’t shoot more than five times until the 15th game of the season and finished with a 12.9 usage rate. Three years later, he launched 464 3s for a team that went to the second round of the playoffs.

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Ingles saw all the flashes from Daniels this summer with the Australian national team when both were preparing for the Olympics. It’s no surprise to him that Daniels is thriving under Snyder.

“The last few summers, we would see the talent, the IQ, the defensive ability and all those different things,” Ingles said. “Then this summer he played a lot (in the Olympics), guarded the best player every time, and offensively would show the poise and playmaking. I was really impressed. And he’s a really good kid who works his ass off.

“Knowing Quin, he will unlock some offensive ability and potential, for sure. He did it with me, he’s done it with a lot of the players I’ve been around. He makes you want to run through a wall for him. For me, coming over (to the NBA) at 27 and doing what he was able to do with me, he was a huge part of that, and I think he’ll give that to Dyson.”

We should talk about the defense too. Daniels has been a terror on that end, leading the league in deflections and steals by staggering margins while adding size and physicality on the wing at 6-foot-8. To put in perspective just how much of a pest he’s been, Alex Caruso led the league last year with 3.7 deflections per game. Daniels is averaging 7.6.

Go through the clips of all his thievery and you’ll see he’s earned his steals in an impressive variety of ways — overplaying passing lanes, deflecting his own man’s passes with “high hands” and using a karate-chop strip move, for instance.

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He’s also straight-up embarrassed a few guys by picking their dribble at midcourt. Like this:

Daniels has 23 steals in his last four games; only three other players have that many all season. Suffice to say Atlanta has never had a wing defender like this before, and while it hasn’t impacted the overall results on that end (the Hawks, as ever, are 26th in defense), the team’s stats are much better in Daniels’ on-court minutes, even though most of them are shared with Young.

More importantly, Daniels has also warmed up to the “Great Barrier Thief” nickname recently. We need to make this stick, people!

As long as Daniels keeps letting it rip with confidence on the offensive end, the Hawks can benefit from his awesome turnover creation on defense. He has a great shot of being named to the All-Defense team and will likely be a strong contender for Most Improved Player, too, making him arguably the most significant emerging player from the season’s opening weeks.

Daniels is the most important one, but here are nine other names you need to know from the season’s first few weeks:

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Wahoowa! While several Memphis players warrant mentioning here as the back half of the roster has helped keep the Grizzlies afloat amid myriad injuries, Huff stands out. A lightly regarded two-way signing before the season, he’s already gained a promotion to the main roster following a series of eruptions off the bench, even earning a start in Wednesday’s game against the Los Angeles Lakers.

Huff isn’t a post threat, but he makes an offensive impact in two entirely different ways. First, he’s a rim-runner who gets out in transition and can finish lobs, specializing in reverse dunks like in the clip below.

However, he also doubles as a half-court 3-point threat, having made 43.8 percent from distance so far this year. Huff gets them up, too, jacking 48 attempts in his 185 minutes. The 7-foot-1 center also offers rim protection, with a stellar 11.6 percent block rate and, notably, a dramatically reduced foul rate from his previous stops in the NBA.

That package has proven especially effective on an up-tempo Memphis team that has leaned into its depth and pace to stay afloat. At age 26 and on his fourth team, Huff looks like a keeper as a backup center and is under contract for three years beyond this one.

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Wahoowa! (This won’t be all Virginia guys, I promise.) You could pick multiple names from this Cavs squad rampaging through the schedule; Caris LeVert also has been a monster, most notably.

But for sheer out of nowhere-ness, we have to go with Jerome, who signed a minimum deal in Cleveland two summers ago and then missed all of last season after ankle surgery. I’m not sure what the Cavs’ hopes were for him this season, but I suspect “leading an undefeated team in PER” would be at the high end. Jerome is in his sixth season and has never played more than 48 games or 816 minutes in any of them, but that’s about to change dramatically.

One of the keys has been a deadly floater game; more than half his 2s have come between 3 and 16 feet, per Basketball-Reference.com, and he’s made nearly two-thirds of them. Add in an accurate 3-point shot (a scalding 57.7 percent so far) and top-notch reads as a passer (more than three dimes for every turnover), and he’s been a massive plus captaining the Cavs’ second unit.

Perhaps more shocking than the offensive output has been Jerome’s impact defensively. Despite his notorious slowness afoot, he’s pilfered 18 steals in just 211 minutes. That’s the league’s third-highest theft rate among players with at least 200 minutes, trailing only Daniels and Caruso.

I ran into a front-office executive at the Champions Classic who witnessed Powell’s 29-point second-half eruption in Oklahoma City on Monday, and he riddled me with this question: If they selected the teams today, would Powell make the Western Conference All-Star team?

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Nooooorm has been that good, averaging 24.9 points per game with 50/49/83 shooting splits to help keep a limited Clippers offense functioning. In particular, he’s been devastating walking into 3s off the dribble.

Never mind that he’s 31 and in his 10th season; Powell is having a career year and has been the Clippers’ go-to guy at times, with a 26.6 usage rate that nearly rivals teammate James Harden’s. And it’s not just the scoring: Powell is posting a career high assist percentage and has a steal in nine straight games.

Forgotten as the Pacers made an Eastern Conference finals run while he sat out injured last spring, the 2022 lottery pick has come back with a vengeance.

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I was fortunate enough to be in Indy to witness Mathurin’s origin story, so to speak, when he replaced an injured Andrew Nembhard against the Celtics and finished with 30 points in a surprise win. While the Pacers’ offense has otherwise remained shockingly anemic in the early going, Mathurin has been a revelation. He’s averaged 24.0 points per game over his last seven contests while starting the most recent six.

An electric downhill driver, especially going left, Mathurin draws fouls for sport (10.1 free-throw attempts per 100 possessions), but he’s not just trying to scam trips to the line. He also has an accurate long-range game (46.5 percent on 3s thus far) to keep defenses honest and has enough pull-up game to be a true three-level threat.

The 6-6 guard also leads the team in rebounding, which is a wee bit of an indictment of the Pacers’ frontcourt, but a 12.3 percent rebound rate from a perimeter player is impressive on any level.

Nit-pickers will note Mathurin still has his shortcomings, being prone to ball-stopping, dribble blindness and periodic defensive lapses, but if he keeps scoring this efficiently and this often, it’s easy to look past those warts. Mathurin has been Indy’s best player in the early going, and one presumes he won’t be coming off the bench when Nembhard returns.

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Guess who leads Golden State in 3-point attempt rate? I’ll give you a hint: It’s not Stephen Curry. Hield not only has the highest rate of attempts on the Warriors, but also leads the entire NBA in made 3s per 100 possessions with 7.5.

After being an afterthought in the Philadelphia 76ers’ offense late last season, Hield has been a prolific and accurate launcher for the Warriors, playing some of the best basketball of his career at 31. Nobody will complain as long as he’s making 46.7 percent of his 3s, which he’s done so far, in addition to knocking down 54.9 percent of his 2s. For good measure, he’s setting a career high in rebound rate too.

Hield is only playing 24.5 minutes a night in the Warriors’ egalitarian system, but he’s second on the team in scoring and PER and a big reason Golden State ranks third in the NBA in offensive efficiency — the Warriors were eighth each of the last two seasons. On the first season of a four-year deal that pays him an average of $9.4 million, he’s been one of the best signings of the 2024 offseason.

After missing most of last season because of a stress reaction and other issues, Eason has roared back to be arguably Houston’s most effective player in the first dozen games. Coming off the bench, he’s energized a Rockets second unit that has helped overcome blah output from the starting group en route to an 8-4 start. Units featuring Eason and partner in chaos Amen Thompson have outscored opponents by 17.6 points per 100 possessions so far, with a sterling 100.2 defensive rating.

What’s notable is that Eason is a more efficient version of his usual mayhem, shooting 62.8 percent on 2s after making fewer than half across his first two seasons. He’s doing it by getting all the way to the rim and finishing; watch here, for instance, as he sizes up Nic Batum and puts him on a poster Wednesday.

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Eason’s play, along with that of Thompson, could eventually force the Rockets into some difficult decisions on lineups and salaries. The two have been dramatically more effective than Houston’s starters, and Eason will be up for a contract extension after the season. For now, however, let’s enjoy the show.

Agbaji’s jump shot has always looked like a thing of beauty in pregame warm-ups, but in his third season, it’s finally translating to games. After making just 34.6 percent from 3 in his first two seasons in Utah and underwhelming in a late-season cameo after the trade deadline, he’s emerged as a solid starter in Toronto by knocking down 47.9 percent from distance in the early part of the season.

Accuracy is paramount for Agbaji since he’ll never be a high-usage player, but he’s also made an impact inside the arc by focusing more on transition and rim attempts and ditching the other stuff. He’s only taken two shots between 10 feet and the 3-point line all season but is shooting 64.4 percent at the rim.

On the third year of his rookie deal, Agbaji establishing himself as a 3-and-D guy would go a long way toward getting his deal extended this summer. His emergence has been much needed on a paper-thin Raptors roster reeling from other injuries at the wing.

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While the rest of the Bucks’ bench has been a wasteland, Green has delivered in his role in the most pickup-legend way possible: by never taking a 2-point shot. His 53 3-point attempts without a 2 to start the season is an NBA record, (sorry, Garrison Mathews), one that finally came to an end when he missed a paint attempt Wednesday against Detroit.

Watching Green shoot, it’s hard to believe he’s so accurate. The undrafted guard from Northern Iowa tucks the ball all the way behind his head and then lets it rip, but the results speak for themselves. He shot 42.6 percent from 3 in the G League in 2022-23 and is at 42.7 percent for his NBA career to go with 92 percent from the line (he shot 90 percent in four college seasons). With a 50 percent mark from 3 this season on a team otherwise short on floor-spacing options, Green has established himself as an important piece as Milwaukee tries to recover from a woeful start.

He’s also important on another level — as a cost-controlled piece on a minimum deal for another season, something the tax-constrained Bucks desperately need on their books.

Lost in the insanity of Miami’s bizarre loss to Detroit on Tuesday was the play of Herro in nearly leading the Heat to an impossible comeback. Down nine in the final 90 seconds of regulation, he made three straight 3-pointers to send it to overtime, part of a 40-point eruption that included 10 made 3s.

That wasn’t an outlier, either. Through 10 games, Herro has been Miami’s best player, averaging 24.9 points on breathtaking shooting splits: 54.7 percent on 2s and 47.9 percent on nearly 10 3-point attempts a game. That adds up to scalding 66.8 true shooting percentage, a notable change for a player who historically has been middle of the pack on this measure.

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In a related story, Herro has basically excised the long 2 from his shot diet. He took more than a quarter of his shots between 10 feet and the 3-point line in 2023-24; this season, that’s only 7 percent of his output, according to Basketball-Reference.com.

Here’s one middie he did make, though, a difficult leaner with 1.8 seconds left in overtime to tie the score Tuesday … a play forgotten in the craziness that happened immediately after.

Sign up to get The Bounce, the essential NBA newsletter from Zach Harper and The Athletic staff, delivered free to your inbox.

(Illustration: Dan Goldfarb/ The Athletic; Photos: Bart Young, Eric Espada / NBAE via Getty Images)

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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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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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