Culture
Enter Blake Horvath’s name into Army-Navy lore, but remember Bryson Daily’s too
LANDOVER, Md. — Bryson Daily lives West Point and Army football. The west Texan — who plays quarterback more like a defensive end hunting quarterbacks — has found time amid the unrelenting routine of a cadet to absorb history of the Army-Navy rivalry as well.
He does have help with that, counting Rollie Stichweh as a friend and adviser. Stichweh has stressed that leading a team is “about keeping everyone level through all the highs and lows more than anything,” Daily said, and Stichweh knows as much about this game as anyone. If you don’t know that name, here’s essential Army-Navy lore: Roger Staubach and Navy beat Army in 1963 in one of the most memorable editions of game, one that was pushed back a week because of the assassination of President John F. Kennedy Jr., one that came down to the final possession. Navy’s 21-15 triumph was its fifth in a row in the series, capping a season that saw the Midshipmen finish No. 2 in the rankings and Staubach win the Heisman Trophy.
The other quarterback was Stichweh. A lot more people knew it a year later when both were seniors and Stichweh beat Staubach to end the streak, before heading off to serve in Vietnam and win the Bronze Star Medal and Air Medal. On Saturday at Northwest Stadium, in the 125th edition of this game, Army’s Daily was the senior star who had to endure the bitterness of “singing first” in his last opportunity.
Blake Horvath was much more than just the other quarterback.
The Navy junior entered his name in the annals of this game and in a few more households at large with 196 yards and two touchdowns rushing, 107 yards and two touchdowns passing, a 31-13 stunner of a win and significant contributions toward the celebration to match.
“You’re talking about a guy who didn’t even get honorable mention all-conference, you know?” said Navy coach Brian Newberry, which of course contrasts with Daily winning AAC offensive player of the year and finishing sixth in Heisman Trophy voting. “And he outplayed the guy on the other side today, truth be told.”
Bryson Daily’s 16 pass attempts were his second most this season. (Patrick Smith / Getty Images)
And he felt it, as they all did, as they always do. This capped the season of the most combined national relevance for these programs in decades, and that’s something to watch as both continue to develop players and chemistry over years while the rest of the sport plays annual roster Etch A Sketch. Horvath and Navy (9-3) served notice that college football in 2025 should watch out for Horvath and Navy.
But who cares? These are the moments they’ll talk about for the rest of their lives. It’s that important to all who play and all who serve, the rest of college football be darned. The reason an Army-Navy game is on more bucket lists than parasailing in Hawaii is because each one serves up an intersection of intensity, pageantry, history and humanity that you can’t find elsewhere.
The cadets from West Point and the midshipmen from Annapolis march onto the field before the game in breathtaking displays of precision and order, from young people who have signed up to protect our country. This felt like a typical football afternoon coming in, walking past an Army Rangers tailgate with George Thorogood’s “One Bourbon, One Scotch, One Beer” blaring from speakers and folks singing and drinking along. Inside the stadium, nothing is typical. College football does pageantry at a high level, but not this.
Then you’re reminded that these are 18- to 22-year-olds when they take their seats and belt out “Sweet Caroline,” or chant at someone to take off a shirt, or groan collectively when something goes wrong on the field. That happened often for the cadets Saturday, their 11-1, AAC champion, No. 22 Black Knights outfoxed early, fooled late and pushed around often in a game that lived up to its reputation as the most physical you’ll find in the sport.
“It, frankly, makes the season a bit of a disappointment, that’s just the truth of this game,” Army coach Jeff Monken said after his team was outgained 378-178, a week after beating Tulane to win the AAC for the first conference championship in school history.
The sad, or wonderful, reality of Army-Navy is that Army would trade all those wins right now for Saturday’s. When Horvath took the final snap for the final knee in victory formation, the order, precision and intensity turned to kids losing their minds. Horvath hopped around and asked for more noise from the midshipmen. Junior fullback Alex Tecza of Mt. Lebanon, Pa., who had the first big play of the game, 32 yards on a throwback screen off a play that looked like a speed option going the other way, did a backflip.
He found his backfield partner and high school buddy, Eli Heidenreich, who had an even bigger play: 52 yards and a touchdown on a catch and run, putting Navy up 21-10 and giving Horvath a share of the school single-season record for passing touchdowns (13) and himself a share of the record for touchdown catches (six). Heidenreich spiked the ball after that touchdown — “kind of an out-of-body experience,” he would say later of that — but now he was just looking for people to hug.
HEIDENREICH HOUSE CALL!
Navy increases the lead! pic.twitter.com/23muqMib0l— CBS Sports (@CBSSports) December 14, 2024
He couldn’t get to Brandon Chatman yet, because Chatman was up in the stands along with several other Navy players, making the most of the moment. Chatman is a junior too, “Snipe Z” in the Navy offense to Heidenreich’s “Snipe A,” and he caught an 18-yard touchdown pass from Horvath in the game. Chatman grew up in Fort Lauderdale, Fla., in tough circumstances, agreeing to live in the garage so his mother could rent out his room, sleeping with a fan inches from his face to keep from waking up in pools of sweat.
He was going to play slot receiver for Warner University, an NAIA program in Lake Wales, Fla., when Navy found him and saw a place for him in this kind of offense. His resolve was tested when a close friend was shot back home and he couldn’t attend the funeral while in “plebe summer” — basic training for incoming freshmen — but he stayed in Annapolis.
“This place basically saved me,” Chatman said.
“The thing about Chat is, whatever’s going on in his life, there’s always a smile on his face,” Tecza said of Chatman. “The happiest kid I’ve ever met, a kid who never complains.”
A kid who has his first win over Army, after Army had won two straight and six of eight. The same was true of another junior, Horvath’s co-MVP in this game, nose guard Landon Robinson. All he did was pile up 13 tackles on defense and make the play on special teams that broke the game open — getting the look he wanted from Army on a Navy punt, calling for a direct snap and rumbling for 29 yards. Senior linebacker Colin Ramos made the play stand by pouncing on Robinson’s fumble at the end of it.
Robinson, whose father was a Kent State gymnast, made Bruce Feldman’s annual Freaks List for benching 450 pounds and squatting 650. He was the only nose guard in the nation in 2023 who played on the kickoff team. Maybe this Navy offense, which took big advances in versatility in 2024, can find more work for him.
“We’ll work on that ball security,” Horvath joked.
The initial Navy celebration had to pause for a few moments so the Midshipmen could line up behind the Black Knights in a show of respect while Army and the cadets sang their alma mater. Their faces were grim and stayed that way through the long walk from the field into the tunnel and their locker room.
Navy celebrated its third win against Army in the last nine meetings. (Patrick Smith / Getty Images)
Daily, who was held to 52 yards rushing and 65 yards and a touchdown passing — with three interceptions when forced to get out of character and wing it around as Army faced a deficit — led the team in that endeavor as well. Meanwhile, Navy was singing second for the first time in three years, and reigniting the party afterward.
“There’s a pain that comes with singing first in this game,” Horvath said. “We didn’t want to do it again.”
Midshipmen players were still making all kinds of noise as they finally got to the tunnel and their locker room. One yelled, “Do they have a football team?!” in an apparent reference to a joke Monken made at Navy’s expense earlier this season in an interview with Pat McAfee on ESPN. Newberry entered his postgame news conference with two loud words: “Hell yeah!”
But it was mostly respect, on and off the field, and that’s not fabricated because it can’t be. Newberry got on the topic of these programs and their record 20 combined wins this season moving forward with success in college football, saying: “It’s hard these days with the changes in college football to really build a culture that’s built on love and trust.”
Pure jubilation.
Navy earns the right to sing second. pic.twitter.com/NfIE3gmeiI— CBS Sports College Football 🏈 (@CBSSportsCFB) December 14, 2024
Daily agrees. He has a strong sense of the history in this rivalry and strong feelings on the future, telling The Athletic recently: “This 100 percent works to our advantage. We know who we’re going to battle with every day for years. And the biggest key with that is being able to hold each other accountable. Guys don’t get up in arms or in their feelings if they get called out. That can only happen if you’ve got relationships that last for years.”
Now Daily is a graduate of this rivalry, 2-2 overall and 1-1 as a starting quarterback. They’ll be playing for him in 2025, just as he has played for those who preceded him. He left the place Saturday night as an advising alum like Stichweh, with some words for the Black Knights who get to have more of this wonderful game.
“Feeling this loss, feeling this pain,” he said to them, “and just never letting it happen again.”
(Top photo of Blake Horvath: Patrick Smith / 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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