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Football injuries nearly destroyed Jim McMahon. Somehow, he keeps coming back

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Football injuries nearly destroyed Jim McMahon. Somehow, he keeps coming back

A mountain rises above sandy red dirt not far from Jim McMahon’s home in Arizona. There are saguaros, jagged rocks, maybe some rattlers. But no trail.

As he drives by, McMahon tells his friend, “I can’t wait to climb that.”

The idea would be ambitious for any 64-year-old, let alone for one who recently came close to losing his right leg.

At some point during a 15-year NFL playing career — he’s not sure when — McMahon broke his right ankle. Doctors kept telling him he didn’t. By 2021, the ankle bone had grown — the size of two golf balls, he says — and McMahon could barely walk. About two and a half years ago, the bone was shaved and spurs removed. The doctors said the surgery was a success.

They always say that.

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Four days later, McMahon felt a burning sensation. Blood seeped from an area on his leg far from his incision. His ankle was badly infected. Emergency surgery followed. And another emergency surgery.

“My foot literally exploded,” he says.

It looked like a chunk of flesh and muscle had been scooped from the front of his ankle. The open wound was about the size of a baseball and the colors of pizza.

McMahon was told if the infection reached his knee, his leg would be lost. As it crept up his leg — closer, closer, closer — he was as brash and irreverent as always.

“I’d be a sexy son of a bitch with one of those new prosthetics,” he told Kevin Tennant, a close friend of 46 years. “The women would love me.”

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Over two and a half years, he had six skin grafts, the last in November. All the while, amputation remained a possibility.

He couldn’t move his ankle for seven months. The joint calcified. His Achilles tendon shrunk. He couldn’t point his toes up or down.

McMahon recently started seeing Chicago chiropractor Pete Petrovas, who has used electronic stimulation, ultrasound, acupuncture and manipulation to restore function in the joint.

Finally, there is movement. Finally, mercy.

He wears a brace on his ankle and walks with a cane. But somehow, Jim McMahon has made another improbable comeback.

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McMahon’s first comeback happened early in the game of life.

At 6, he tried to untie a knotted shoelace with a fork. It slipped, puncturing his retina. Frightened, he waited six hours before telling his parents. After surgery, he was strapped down in his bed for a week so he wouldn’t scratch his eye.

Not long after he was untethered, McMahon played Wiffle ball in the hospital hallway and blasted a ball out of a window. Then he climbed out the window and down a few stories to retrieve it.

At 12, he was kicked off a baseball team when his coach, who also happened to be his father, caught him smoking cigarettes. He came back, though. In high school, McMahon played every position except catcher. At Brigham Young, he played outfield as a freshman.

But McMahon was a quarterback. Though his eye was light-sensitive and his vision was impaired, he could see the field better than almost anyone. At BYU, he set 75 NCAA records and led a comeback that was the football version of the Battle of Midway.

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With less than three minutes remaining in the 1980 Holiday Bowl, the Cougars trailed Southern Methodist 45-25. When fans headed for the parking lots at San Diego’s Jack Murphy Stadium, McMahon yelled at them, warning them the game was not over. Then he led two touchdown drives to get BYU within six. With the ball on the SMU 41, the Cougars had one more play. McMahon dropped back to the BYU 45 and put up a Hail Mary that landed in the hands of Clay Brown in the end zone. The extra point with no time remaining gave the Cougars a victory in a game now known as “The Miracle Bowl.”

The Bears chose him with the fifth pick of the 1982 draft and two years later, McMahon made a comeback that left doctors astounded.

McMahon, who played as if he were wearing a medieval suit of armor, ran for a first down against the Raiders, then kept running instead of sliding as two defenders approached. Then defensive tackle Bill Pickel put his helmet into McMahon’s lower back. McMahon stayed in the game but didn’t have the breath to keep calling plays. He was taken to the locker room, where his urine was the color of Concord grape juice.

At the hospital, he learned his kidney was torn in two places, with one part completely detached. He bled for three days and was hospitalized for 10. After a transfusion, he was told he needed surgery to remove the kidney. Knowing he couldn’t play football with one kidney, McMahon objected. He says he could feel it healing and asked doctors for one more night. By the morning, he says, it was reattached.

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“The big man upstairs knew the Bears couldn’t ever win s— if I wasn’t there, so he gave me another chance,” McMahon says. “He’s the only one who could have done what happened to my kidney. They just don’t grow back that fast.”

The following season, McMahon was not expected to play in a Thursday night game against the Vikings because of a back injury and leg infection that had him in traction earlier in the week. But the Bears trailed by eight in the third quarter and McMahon badgered coach Mike Ditka until Ditka relented.

On McMahon’s first play, Ditka called a screen pass, but the Vikings blitzed, so McMahon heaved one deep — a 70-yard touchdown to Willie Gault. His next pass was a 25-yard score to Dennis McKinnon. And his seventh was a 43-yard touchdown to McKinnon.

“All I remember is I almost fell on my face because I had so many muscle relaxants and painkillers in me,” McMahon says of the 33-24 victory. “I was barely able to stand up.”

At the end of that season, McMahon led the Bears to their only Super Bowl victory — after coming back from a rear-end bruise that was so sore he could barely sit.

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Through 11 weeks of football in 1986, the Bears appeared well-positioned to repeat as champions. Then Packers defensive tackle Charles Martin changed the trajectory of their season — and McMahon’s life.

McMahon was walking away from the play after throwing a second-quarter interception when Martin grabbed him from behind and slammed him to AstroTurf, which might as well have been concrete. Martin, whom they called “Too Mean,” left McMahon there like roadkill.

A concussion and neck and shoulder injuries meant the end of his season, but not the end of his football comebacks.


Never one to shy away from the limelight, “the Punky QB” was the center of attention at Super Bowl XX media day in New Orleans. (Jonathan Daniel / Getty Images)

The Bears gave up on him. He came back with the Chargers. The Chargers cut him. He came back with the Eagles. He was supposed to sit out a 1991 game against the Browns because of a broken elbow and torn tendon. McMahon could barely move his arm, but 45 minutes before the game, it was decided he would play. His second pass was a pick-six, and the Eagles trailed 23-0 by the second quarter. Then McMahon threw three touchdown passes, including one with 5:19 left that gave the Eagles a 32-30 win.

McMahon played for four more teams. His final game, as a 37-year-old with the Packers, came as Brett Favre’s backup in a Super Bowl XXXI victory. He retired with a .691 winning percentage, eighth highest of the modern era. Of the players who rank ahead of him, three are in the Pro Football Hall of Fame (Roger Staubach, Joe Montana and Peyton Manning), one will be soon (Tom Brady) and two are active (Patrick Mahomes and Lamar Jackson). The other is Daryle Lamonica.

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He didn’t throw passes as pretty as Dan Marino’s or John Elway’s, he had a better winning percentage than either. McMahon didn’t play in the high-flying offense Dan Fouts did, but he has two more Super Bowl rings.

He didn’t have the athleticism of Steve Young, but Young credited McMahon with teaching him how to pass when they were teammates at BYU.

He didn’t benefit from the genius coach and GOAT wide receiver that Joe Montana did, but he had a 4-1 record against him in head-to-head starts. McMahon’s only loss was in the NFC Championship Game in 1989, when his injured knee never gave him a chance.


A 14-year-old McMahon was hanging out with his baseball teammates when one of his friend’s older brothers “tossed us a bone.” That was the first time he smoked a joint. He kept smoking as a teen and throughout his playing career.

These days, indica and OG strains are his favorites, but he likes trying different ones. Every few hours, McMahon lights up either with a bowl or a dogwalker.

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“It makes me not think about the pain,” he says.

He has had 25 surgeries: seven right knee, six ankle, five left knee, four right shoulder, two left shoulder and one eye. When he reaches to shake a hand, he winces. If he remembers, he pulls golf clubs from his bag with his left hand.

McMahon doesn’t work out much because he can’t lift his arm sideways. His right shoulder has been a problem since the first game of the 1986 season. After shoulder surgery that year, he says he was supposed to sit out two seasons, but he came back in 10 months. Now McMahon probably needs a replacement.

And then there is his head.

McMahon was a teammate of Andre Waters in Philadelphia and Dave Duerson in Chicago. When each killed himself, McMahon was stunned. He wondered what could make them feel so despondent. In 2012, he was enlightened.

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“I started feeling the same things about a month or two after Duerson (died),” he says. “Then I understood.”

McMahon experienced debilitating headaches — it was like an ice pick in his skull. For months, he mostly stayed in bed with the shades down.

“If I had a gun, I would have blown my f—— head off,” he says. “It hurt that bad. I spent weeks at a time thinking, ‘What are you going to do?’ But I didn’t want to do that to my kids, my folks and my family.”

McMahon found relief through Scott Rosa, a New York chiropractor who traced some of the problems to old neck injuries. He sees Rosa a few times a year, whenever headaches worsen.

McMahon’s wit remains sharp, but his memory has dulled. He can relay 30-year-old reminiscences and nail every detail, but ask him what he did this morning and he might struggle to answer. He forgets appointments even though he enters them in his calendar. He occasionally loses his train of thought in mid-conversation.

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He was one of the plaintiffs in the concussion lawsuit against the NFL. A settlement was agreed upon in 2015 and the NFL has paid nearly $1.2 billion to former players and their families, but McMahon has not collected.

“They said I wasn’t impaired enough, that I don’t have full-blown dementia,” he says. “They want you to die before they admit there was something wrong with you.”

He was one of several players who sued the league for illegally dispensing narcotics and other drugs without regard for long-term health. At one point he says he was taking 100 Percocet pills monthly, but the medication made it difficult to sleep.

At least he has marijuana.

Along with former NFL players Kyle Turley, Eben Britton and Ricky Williams, McMahon owns Revenant, a cannabis business. He and Williams recently visited Capitol Hill to lobby for more lenient federal marijuana regulations.

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A look at McMahon’s busy travel itinerary is enough to make him want to take a toke. Much of his travel involves golf, where he somehow manages to crush his drives despite playing one-legged, spreading his legs as far as possible and putting all his weight on his left foot.

“I told him he plays as good with one foot as he did two,” his son Sean says.

An excellent golfer, Sean tries to give his father pointers but says Jim doesn’t take to coaching very well. Ditka could have told him that.

When he’s on a course, McMahon almost always has a Coors Light in his hand. Time has diminished neither his thirst nor his legendary capacity.

“Me and Horne (former teammate Keith Van Horne) did a good job at a bar the other night,” he says, pausing to spit tobacco in a cup. “It was probably funny watching him and me trying to walk out of this place.”

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Drinks in the Chicago area are almost always on the house — or on the guy at the end of the bar wanting to take a selfie. A fan paid his lunch tab at a Greek restaurant the other day. They love him not just because he helped win a Lombardi Trophy but because of how he did it — with rebelliousness and recklessness. An icon in the lineage of Broadway Joe Namath and Kenny “The Snake” Stabler, McMahon was who football fans wanted to be.

He still is. Kind of.


These days, “Papa Jim” enjoys his time with his six grandchildren. (Photos courtesy of Sean McMahon)

Sean says when his father is with his friends, he acts no differently than he did 30 years ago. When Tennant is around, they golf and play cards, backgammon and dominoes for hours on end, insulting one another and laughing like they have for 46 years.

“I kick his a– every time, or almost every time,” Tennant says.

“He’s full of s— most of the time,” McMahon says.

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Where gel-spiked hair once was, there is now a shaved scalp. The sturdy chin wears a white goatee. With his still-light-sensitive eyes obscured by blue-lens sunglasses, he looks more like a villain from a Marvel movie than a stereotypical grandfather. But to Maverick, 7, Macy, 6, Gibson, 5, Ryder, 5, Walker, 3 and Brooks, 1, he is “Papa Jim.”

McMahon downplays the significance of being a grandfather. Then he shows off videos of the kids.

Papa Jim gets on the floor to play cars with Walker. He takes Macy to her tennis lesson. Maverick and Ryder bruise him up with their toy nunchucks and swords. He plays catch with the kids but throws left-handed or underhanded because the arm that launched 2,573 NFL passes can no longer make a gentle overhand toss without stabbing pain.

Divorced for 15 years and unattached, McMahon appreciates time with his grandkids, four children and 88-year-old parents, Jim Sr. and Roberta. He didn’t always get along with his mother and father during his NFL days, but time heals the wounds it can.

Some of his injuries during football made him feel like crying, but he always held back tears. He didn’t want to show weakness. That has changed.

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“My physical therapy makes me cry every time,” he says. “I even catch myself tearing up while watching TV commercials. I asked my doc, ‘Am I going f—— crazy?’ He told me it’s part of maturing.”

So, McMahon has matured?

“It’s awfully bold of you to assume I have,” he says with that familiar grin. Then he pauses.

“I mean, you’re getting closer to death, so you’re trying to put your life in perspective,” he says. “You’re trying to finish out the last few years and make them good so you don’t have to wait too long in line when you get up there, if that’s the way I’m headed.”

McMahon is headed somewhere else now, hobbling away to meet a former teammate. He will drink too many beers, stay out too late and tell stories his grandchildren probably should not hear. And when tomorrow dawns, Jim McMahon, deep in the game of life, will reach for his cane, light a bowl and make another comeback.

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(Illustration: Dan Goldfarb / The Athletic; photos courtesy of Sean McMahon; Peter Read Miller, Focus on Sport / Getty Images; Paul Spinelli / Associated Press)

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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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