Culture
France, racial politics and why 'the Mbappe effect' is shaping a bitter election
The morning after France’s opening game of Euro 2024, the French Institute of Public Opinion (IFOP) published its latest poll ahead of the country’s legislative election.
The top line was that the seemingly unstoppable momentum behind the far-right National Rally Party (RN), bidding to form a government for the first time, seemed to have slowed – dropping from 35 per cent support a week earlier to 33 per cent. The New Popular Front, a coalition of left-wing parties, and President Macron’s centrist Renaissance party had both begun to close the gap.
Such fluctuations are normal during the course of an election campaign, particularly in a country whose political landscape changes as rapidly as that in France, but there was another finding that caught the eye.
IFOP reported a significant shift away from the RN among those between the ages of 18 and 34 (from 31 per cent to 27 per cent). They also reported that 57 per cent of 18-to-35-year-olds intended to vote in the first round — in contrast to the previous legislative elections in June 2022, when only 30 per cent of that age group did so.
Could this be the beginning of the Kylian Mbappe effect?
This was the first poll since the France forward issued a plea to the public to recognise that “the extremes are knocking on the doors of power”. He urged young people in particular to “make a difference” and to “shape our country’s future” in the two rounds of voting on June 30 and July 7.
At a news conference to preview that first Euro 2024 game against Austria, Mbappe said he was “against extremes, against divisive ideas” but also against political apathy.
“That’s why I’m trying to give a voice to these people of my generation,” he said, “because that’s what I was like when I was younger, thinking my voice isn’t going to change (anything).”
Mbappe’s team-mate Marcus Thuram, whose Guadeloupe-born father Lilian was one of the most influential players in the history of the France national team, went further by explicitly urging the public to reject the RN.
“It’s the sad reality of our society today,” he said in response to the RN’s position leading the polls. “We must tell everyone to go out and vote. We all need to fight daily so the National Rally does not succeed.”
Marcus Thuram has made clear his distaste for the National Rally (Dean Mouhtaropoulos/Getty Images)
For a time, it seemed Mbappe’s and Thuram’s words could make a difference in mobilising younger voters, particularly those from ethnic minorities who are fearful of a far-right government. But any “Mbappe effect” might have been short-lived. New polls over the past couple of days suggest the RN has surged ahead again.
France are many observers’ favourites to win this European Championship, but the prospect of a far-right government assuming power at home has left many players on duty in Germany with a feeling of dread.
As Mbappe said: “I don’t want to represent a country that doesn’t correspond to my values, that doesn’t correspond to our values.”
When France won the World Cup in 1998, it was widely acclaimed as a triumph for multiculturalism. The team included players who had been born in the overseas territories (like Lilian Thuram in Guadeloupe and Christian Karembeu in New Caledonia); or in French-speaking countries in Africa (like Marcel Desailly in Ghana and Patrick Vieira in Senegal); or who were sons of immigrants (like Zinedine Zidane, whose parents arrived from Algeria in the 1950s, and Thierry Henry, whose parents were from Guadeloupe and Martinique); and others like Youri Djorkaeff and Robert Pires, whose heritage was Polish-Armenian and Spanish-Portuguese respectively.
The team was fondly referred to as being “black, blanc, beur” (black, white and Arab) in a riff on the “bleu, blanc, rouge” of the French flag. Jacques Chirac, the president at the time, congratulated a “tricolour and multi-colour team” on creating a “beautiful image of France and its humanity”.
France’s diverse 1998 World Cup winners, including (from left) Bernard Diomede, Lilian Thuram, Didier Deschamps and Thierry Henry (Daniel Garcia/AFP via Getty Images)
But not everyone was happy. Jean-Marie Le Pen, leader of the Front National (FN) party, which has since rebranded as the RN under the leadership of his daughter Marine, responded by downplaying this huge national celebration as “only a detail of history”. He had previously said it was “a bit artificial to bring players from abroad and call it the French team” and accused some of them of “not singing or not knowing La Marseillaise”, the national anthem.
The World Cup win was hailed in some quarters as a turning point for French society. But unity was short-lived.
In April 2002, Jean-Marie Le Pen stood in the presidential election, putting anti-immigration measures at the centre of his manifesto. He secured 16.9 per cent of the vote in the first round, beating the Socialist Party leader Lionel Jospin into third place and securing a spot alongside Chirac on the ballot form for the decisive second round.
In the build-up to the vote, Pires, then playing for Arsenal, warned that “if the extreme right were to win the election, I think more than several (France) players would refuse to take part in the World Cup. We are French, but the team’s roots are from everywhere”. Desailly said it was “imperative to do everything possible to block (Le Pen’s) path to power”.
Chirac won the second round resoundingly, but Le Pen was now a significant player on the French political scene and continued his diatribes against the ethnic make-up of the national team. During the 2006 World Cup, he said that “France does not fully recognise itself in this team” and that their coach Raymond Domenech had “perhaps exaggerated the proportion of players of colour”.
Lilian Thuram, who made 142 appearances for France between 1994 and 2008, responded on that occasion by saying Le Pen was “clearly unaware that there are Frenchmen who are black, Frenchmen who are white, Frenchmen who are brown”.
“If he’s got a problem with us, that’s down to him, but we are proud to represent this country,” Thuram added. “So Vive la France — but the true France, not the France that he (Le Pen) wants.”
On the tram from Dusseldorf central station to the Merkur-Spiel Arena last week, France’s supporters were in high spirits. At one point there was a stirring rendition of La Marseillaise. The whole carriage — other than a handful of Austria fans and a couple of journalists — joined in.
The supporters included Jean-Luc Rutil, 56, and his daughter, Loanne, 23, who had travelled from Paris.
“I personally agree with Mbappe,” Loanne said. “I think it’s right that football players don’t only stick to football. It’s great that they’re talking about politics because politics and the elections affect everybody. He is right to send out the message that it’s important to vote.”
Her father Jean-Luc was less convinced. “I feel the footballers should concentrate on football,” he said. “It’s fine to encourage people to vote, but not to issue directives. We talk about social problems, about racism, but we have been talking about these things since the dawn of time.”
Jean-Luc Rutil, 56, and his daughter, Loanne, 23 (Oliver Kay/The Athletic)
Jean-Luc has been following the France team for decades. He remembers being inspired by the European Championship-winning side of 1984, which included Marius Tresor and Jean Tigana, born in Guadeloupe and Mali respectively. By 1998 there was Thuram, Desailly, Vieira, Karembeu, Henry and Zidane and a team that — much to Jean-Marie Le Pen’s disapproval — reflected the multicultural nation France had become.
Loanne said the team of today feels representative of modern France: “All walks of life, all colours in our team.”
But does it feel representative of a nation which, according to the most recent polls, is likely to elect a far-right, anti-immigration party as its government?
“The French national team is probably about as popular as it has ever been,” says Tom Williams, author of Va-Va-Voom: The Modern History of French Football. “It’s been a great era – finalists at Euro 2016 on home soil, World Cup winners in 2018, World Cup finalists in 2022.
“But at the same time, we have seen the far right on the march and a notable rise in racism and racist abuse within French domestic football. There have been numerous incidents this season, including Nazi salutes, monkey chants. Bastia had a point deducted after a referee’s assistant was racially abused.
“When things go wrong, the cracks appear and far-right politicians try to make an issue of it. Every time French football has hit rock bottom since 1998, people have brought race into it.
“It has often been the non-white players who have been singled out. At Euro 2020, the only real disappointment during the recent era, the player who missed the fateful penalty against Switzerland (Mbappe) ended up being racially abused on social media — similar to the England players (Marcus Rashford, Jadon Sancho and Bukayo Saka) who missed their penalties in the final against Italy. There is always that kind of undercurrent.”
The discourse around French politics, race and the national team has never gone away. Alain Finkielkraut, a well-known French essayist, wrote in 2005 that the “black, blanc, beur” team had been replaced by one that was “noir, noir, noir” (black, black, black) and that it attracts derision across Europe as a consequence.
In 2011, online newspaper Mediapart published transcripts of a meeting the previous year in which French Football Federation (FFF) officials, unaware they were being recorded, discussed the idea of limits on non-white youngsters entering the football academy system.
Laurent Blanc, who was then coach of the national team, was heard saying that at some academies “we really train the same prototype of players: big, strong, powerful. What are the big, strong, powerful things out there right now? Black people. God knows that in training centres, in football schools, there are a lot of them”. Blanc added that the FFF should refocus and find more young players “with our culture, our history, etc”.
An investigation led by the French sports ministry cleared Blanc of allegations of discrimination. Francois Blaquart was briefly suspended from his role as national technical director pending an investigation, but he too was cleared of any wrongdoing and stayed with the FFF for another six years.
Blanc, Blaquart and others felt their words had been taken out of context. Chantal Jouanno, the sports minister at the time, said the comments made by various FFF officials had been “clumsy and uncalled for”, but that there was no evidence to suggest they had backed discriminatory practices.
“It just sort of died down and went away, but it left a sour taste within French football,” says Williams. “It was a controversy that threatened to have much more significant ramifications than it did.”
Since Jean-Marie Le Pen stood down in 2011, the nationalist movement has continued to grow in support, first under the leadership of his daughter Marine and now under 28-year-old Jordan Bardella, who has widened the RN’s appeal to a younger demographic.
Posters showing Marine Le Pen and Jordan Bardella ahead of the legislative elections (Denis Charlet/AFP via Getty Images)
Some of its messaging has been toned down, but the anti-immigration message persists. As do the tensions with the France national team.
Mbappe did not mention any party specifically — and appeared to be referring to the NFP coalition as well when he spoke of extremism — but his comments last week were met with anger from the RN.
Bardella told French TV station CNews: “When you’re lucky enough to have a very, very big salary, when you’re a multi-millionaire, then I’m a little embarrassed to see these athletes (…) give lessons to people who can’t make ends meet, who don’t feel safe, who don’t have the chance to live in neighbourhoods protected by security agents.”
There was a similar message from one of the RN’s vice presidents, Sebastien Chenu, who said the French public didn’t want to be “lectured” or “told how to vote” by people “who are disconnected from reality” and “very far removed from their daily concerns”.
But Mbappe’s origin story is far from privileged. He grew up in the banlieue, the vast urban suburban sprawl beyond the centre of Paris. So did many of his team-mates. To suggest they cannot relate to “people who can’t make ends meet” — and vice-versa — seemed like a convenient put-down, but not an accurate one.
Kylian Mbappe, aged 12, talking to French television about racism in football in Bondy in 2011 (Florian Plaucheur and Mehdi Lebouachera/AFP via Getty Images)
“The fact that they’re millionaires or multi-millionaires is irrelevant,” says Philippe Marliere, professor of French politics at University College London. “Mbappe comes from Bondy, which is on the outskirts of Paris but has a completely different landscape to the affluent city. There’s a lot of poverty, a lot of unemployment.”
Bondy is part of Seine-Saint-Denis, the French ‘department’ with the highest proportion of immigrants and the highest poverty rate, with 28.6 per cent of its 50,000-plus residents living below the poverty line according to INSEE (France’s national institute of statistics and economic studies).
“Mbappe’s father is originally from Cameroon and his mother’s family are from Algeria. They are known as very hard-working, law-abiding citizens who are heavily involved in their local community,” Marliere says. “Mbappe appears to share their values and it’s a positive thing when someone achieves great success and they remain true to the values they were raised with.”
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Could this kind of intervention make a difference? “In terms of the outcome, it is harder to say, but it could certainly have an impact because of Mbappe’s status as a national icon,” Marliere says.
“This is a crucial and potentially historic election, in which France could elect a far-right government. This could mobilise younger voters who weren’t previously thinking of voting.”
In the days that followed Mbappe’s and Thuram’s comments, Arsenal defender William Saliba, also from Bondy, suggested the France squad might issue a collective statement. Nearly a week later, it has not materialised.
“We’ve talked about the press release and the subject will come up again,” Real Madrid midfielder Aurelien Tchouameni said at the France training camp in Paderborn on Sunday. “I can’t say we all have the same view of things. I don’t know.
“Everyone in the group is entitled to their opinion. We’ve had strong messages via Marcus and Kylian and I share their point of view. I hate extremes in everyday life. I’m more for a policy of unity.”
The FFF outlined its own position within hours of Thuram’s statement on June 15. It said it is “deeply attached to freedom of expression and citizenship” and “supports the call to go out and vote”, but that it — and the national team — must remain politically neutral. “In this respect,” it said, “any form of pressure and political use of the French team must be avoided.”
But it seems inevitable that the national team will be “used” politically one way or the other. While Jean-Marie Le Pen used to take pot-shots to score political points, Macron has flaunted his affection for the national team and, over recent years, his relationship with Mbappe.
Despite being a Marseille supporter, Macron took credit for helping persuade Mbappe to extend his contract at Paris Saint-Germain in 2022. Mbappe confirmed that the president “strongly advised me to continue in my country”.
Mbappe has attended dinners at the Elysee Palace, including earlier this year for a visit by the Emir of Qatar given PSG’s links to the Qatari state. Macron and sports minister Amelie Oudea-Castera visited the team’s training base in Clairefontaine on June 3 before the departure for Germany, standing either side of Mbappe during a photoshoot.
French president Emmanuel Macron with Kylian Mbappe before the squad’s departure to Germany (Sarah Meyssonnier/POOL/AFP via Getty Images)
Marliere is keen to point out that Mbappe’s statements, in condemning “extremes” (plural), “appear to put him down as a Macronite” rather than someone campaigning for the left-wing coalition.
“But it was still quite a bold and controversial statement,” Marliere says. “The players are celebrated and liked by the French public, particularly when the national team wins. But if they start making their way into political discussions, there is a risk that some will object to that. They will be aware of that risk, which is why I admire the boldness of the statements.”
The stakes are high. This legislative election has been described by finance minister Bruno Le Maire as being potentially France’s most significant since the formation of the Fifth Republic in 1958. While the National Rally is expected to win the most votes in the first round on June 30, the outcome of the second round on July 7 is harder to predict.
It raises all kinds of possibilities: France’s players looking to the stands during a Euros semi-final in Munich or Dortmund and seeing Bardella looking down on them as prime minister; France’s players returning to Paris as European champions on July 15 to be greeted by the leader of a new far-right government that several of them have already denounced.
“I hope we will make the right choice and I hope we will still be proud to wear this jersey on July 7,” Mbappe said.
Mbappe is a patriot, often ending his news conferences or speeches in pre-match huddles with the words “Vive la France”. But his comments over recent weeks suggest that pride would be tested by the election of a far-right government.
In France – and in the French enclave that has been established in Paderborn over the past fortnight – tensions are running high.
(Top photos: Getty Images; design: Eamonn Dalton)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
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.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
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.
Culture
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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