Culture
Have NHL players maxed out the slap shot? The science behind the speed
Thirty years ago, the average PGA golfer drove the ball 261.84 yards. Davis Love III was the longest hitter at 283.8 yards.
In 2024, the average distance is 300.9 yards, with Cameron Champ leading the way at a whopping 323.3 yards. Technological advances for both clubs and golf balls — combined with a greater focus on fitness — have turned 7,000-yard tracks into pitch-and-putts for the world’s best golfers.
Thirty years ago, Al Iafrate won the NHL’s hardest shot competition at the All-Star skills competition with a 102.7 mph blast, down from his 105.2 a year before.
At the 2024 All-Star weekend, Cale Makar won with a slap shot of 102.5 mph. Utah’s Michael Kesselring and the Buffalo Sabres’ Tage Thompson recently had blasts of 103.77 mph and 104.69 mph, respectively — the only two 100 mph clappers in the league this season. Last season, the 10 biggest bombers combined for 26 shots at or above 100 mph, with the Winnipeg Jets’ Colin Miller topping out at 102.59.
What gives? Iafrate was using an old-school wooden stick. Makar, Kesselring, Thompson, Miller and everyone else in the league is using a custom composite stick, designed to their exact body and mechanical specifications to generate maximum force. Yet the numbers are comparable. There might be more big shooters in the league — tracking data in the NHL only dates back to the 2021-22 season, so we’ll never know for sure — but they’re not really raising the bar by much. Certainly not to the degree that golfers are. Or tennis players are, for that matter.
In fact, it’s more akin to baseball, in which pitchers seem to have reached the limit of human capability at about 105 mph. More and more pitchers throw hard every year — 203 pitchers averaged a four-seam fastball of 95 mph or more this season, up from 123 just seven years ago — but the ceiling isn’t budging. Since Aroldis Chapman hit a record 105.8 mph back in 2010, only Ben Joyce and Jordan Hicks have touched 105, and only once each (Chapman did it nine times). Of course, pitchers aren’t using any equipment. It’s just muscle and mechanics. The human body can only do so much, no matter how feverishly you exercise, no matter how impeccable your nutritional habits are.
Hockey’s different, right? Shouldn’t there be 110 mph shots by now? Or 120, for that matter? Shouldn’t we be talking about scaling back the technology to preserve the integrity of the game, the way the golf world always is? Like every other sport, hockey players keep getting bigger and stronger. But the low-100s remains the gold standard for shot speed.
It begs two questions: Have we reached the ceiling of what a slap shot can be? And why?
“There’s always a limit,” said Detroit Red Wings defenseman Moritz Seider, who has reached 95.54 mph this season, in the league’s 91st percentile. “The human factor only allows you to do so much. And there does come a point where we’re not superhuman.”
Alain Haché knows a thing or two about high-speed projectiles. The experimental physicist and University of Moncton professor seemed to defy the very laws of physics in 2002 when he and one of his students sent a pulse of radiation 120 meters at superluminal speed — that’s faster than the speed of light. But Haché is a hockey nerd, too, the author of two books on the science behind the sport. It makes him uniquely qualified to address such an esoteric topic.
He believes the plateauing speeds of NHL slap shots means that we might have reached our technological limit when it comes to hockey sticks. Iafrate and Al MacInnis and Bobby Hull were physical freaks in the wooden-stick days. All the composites have done is let the rest of the league catch up to them.
“What it means probably is the limitation is no longer the stick itself,” Haché said. “Hockey sticks are pretty efficient already.”
A slap shot is pretty simple from a physics standpoint. When a player rears back and fires, he doesn’t aim for the puck, but rather a foot or so behind the puck. When the stick hits the ice, it flexes, or bends. By flexing the stick, a player is storing potential energy into the stick. When the stick unbends and whips back around, it’s turning that potential energy into kinetic energy, sending the puck on its way.
Energy is always lost in the bending and unbending of the stick, Haché said. A perfectly elastic stick would convert 100 percent of a player’s potential energy into kinetic energy, but modern sticks are pretty close. Haché estimated that modern composites convert “maybe 90 percent.”
“So if you improve your stick (even further), you’re not going to gain a lot,” he said. “You’re not going to double the amount of energy you can transfer. So the energy becomes limited by the player.”
In Iafrate’s and MacInnis’ day, the wooden sticks could flex only so much, and there wasn’t any significant variety from twig to twig.
These days, players have all sorts of options with composite sticks. A stick’s flex — or “whippiness,” in the players’ parlance — is assigned a number. A number above 100 is stiffer, a number below 100 is “whippier.”
Zdeno Chara, a nearly 7-foot-tall giant who holds the record for hardest shot in an NHL skills competition at 108.8 mph, used a famously stiff stick. Alex Ovechkin, on the verge of becoming the league’s all-time leading goal scorer largely on the strength of his cannonading one-timer slap shot, uses an extra whippy stick, in the mid-to-upper-70s. Connor Bedard, who doesn’t have the physical stature of either of those players, uses a super-whippy stick in the low-70s. Whatever suits the player’s mechanics best.
Chicago’s Connor Bedard uses a particularly “whippy” stick, with a flex in the low-70s. (Chris Tanouye / Freestyle Photography / Getty Images)
Naturally, there’s more to it than that, depending on how deep into the scientific weeds you want to get. There’s the “bounce effect,” which means a shot will have more velocity if the puck is moving toward the player at speed when he hits it — think of big Aaron Judge squaring up a 100 mph fastball and imagine the exit velocity. Judge wouldn’t be able to hit a ball off a tee nearly as far, or as fast. It’s not a one-for-one factor because it’s not a perfectly elastic collision; if a 60 mph pass from behind the net is one-timed back toward the net, the shooter won’t get an additional 60 mph on his shot. But he will get a bump.
Now if the player is carrying the puck up the ice at speed and manages to get off a slapper on the rush, he will get all that additional speed. Let’s say Connor McDavid is carrying the puck up ice at 23 mph, his top speed so far this season. If he somehow managed to rip a full slap shot at 83 mph, his top shot velocity this season, while the puck was still moving at 23 mph, his shot would go 106 mph. Easier said than done, but maybe Hall of Famer Marián Hossa was onto something when he would blast those slap shots while racing into the low slot during shootout attempts.
The stick — wood, fiberglass, carbon fiber, aluminum, whatever — is just a tool, though. Technique matters more than anything else. But a little muscle mass doesn’t hurt.
“The power comes entirely from the player,” Haché said. “He will rotate his body. He will time the slap shot so that he can put as much flex as he can in the stick.”
That’s why San Jose defenseman Jake Walman says his shots are harder and heavier earlier in the season, while he still has all the muscle he added over the summer. Players typically lose much of their bulk over the course of the grueling season, as weight-lifting takes a back seat to the endless cardio they’re doing night after night. Their shots can fade along with their weight.
But while behemoths such as Chara and Shea Weber (who nearly caught Chara with a 108.5 at the 2015 All-Star weekend) and the 6-6 Thompson have an inherent advantage, size isn’t everything. Timing is crucial. Pick the puck clean instead of hitting the ice first and the stick won’t flex and the puck will flutter weakly. Hit too far behind the puck and most of the kinetic energy will be spent before the blade even gets to the puck.
“Everyone shoots different, but there are certain things you have to do in order to have a hard shot,” said Chicago’s Seth Jones, who topped out at 97.97 mph last season. “You see small guys have hard shots all the time. You don’t need to be 220 pounds and 6-3 to have a hard shot. And the flex is whatever you’re comfortable with. Some guys shoot harder with (a) 100 flex, some guys shoot even harder with a 75. There’s no one way to do it.”
Zdeno Chara unleashes a 108.8 mph slap shot at the NHL’s 2012 hardest shot competition in Ottawa. (Bruce Bennett / Getty Images)
Power in one sport doesn’t necessarily mean power in the other. Walman’s best golf drives go a relatively modest 270 yards down the middle.
But oh, man, can Walman spin the ball.
“I’m hitting down on it pretty hard,” he said.
The Sharks defenseman blasted a slapper 101.6 mph last year in Vancouver when he was with the Detroit Red Wings. This year, he’s topped out at 94.93 mph. And it’s the same body mechanics that allow him to put so much backspin into a 9-iron that allow him to so consistently hit a hockey puck really hard — the way he rears back and opens up his upper body, the way he transfers nearly all the weight into his front foot with vicious body torque, the way he leans into the stick to create all that flex as he hits the ice six to 12 inches behind the puck, the way he follows through with all of his weight moving forward.
“You’re leaning over way more in hockey than in golf,” he said. “I’m bent over, all my power is generating into that one spot in front. … I’m leaning so far over the puck that all my weight is going down into the puck.”
Hardest shots by year since NHL tracking data implementation
| Year | Season Leader | Speed (mph) |
|---|---|---|
|
2024-25 |
104.69 |
|
|
2023-24 |
102.59 |
|
|
2022-23 |
101.71 |
|
|
2021-22 |
101.95 |
Walman’s always had a big shot, even when he didn’t have the right tools. He said he was pretty much the last kid in youth hockey to play with a wooden stick. His teammates chirped him for it, and his coaches “gave my mom and dad heck” for not buying him a composite stick. But even at a young age, Walman was able to bring out the flex in the wood and launch missiles all day. To this day, he still wonders which kind of stick is really more powerful when leveraged perfectly.
“I’d say the first 50 percent is everything that you do — the power you’re generating, leaning into it,” Walman said. “And then the stick takes over after that. The second half is the technology.”
So while Haché thinks sticks might be approaching the point of perfection, players aren’t so sure. Jones, for one, was skeptical when asked if the NHL had hit the ceiling.
“It depends on where the technology can go,” Jones said. “Athletes are developing every year, we’re getting faster and stronger and bigger, but it’s not just the human body. It’s a little different than pitching, where it’s just you and your arm and the ball. Here, we’re using equipment. Right now, it seems like it maxed out with how light and strong sticks are with the carbon fiber. But who knows in 10 years where the hell technology can be?”
There’s another question that needs to be addressed here: Does any of this even matter?
While MLB teams have high-tech “pitch labs” and huge staffs devoted to squeezing every last bit of velocity and spin out of their pitchers — if a pitcher’s velocity drops a single mile per hour from one start to the next, team medical staffs kick into gear and fan bases go into a panic — NHL players seem a lot less concerned with the science behind the shot.
See puck, hit puck. Puck go fast.
“I honestly have no idea” how the science works, said Edmonton’s Evan Bouchard, who hit 103 in an AHL skills competition.
Most of the biggest shots in the game come from defensemen, and you’ll see them firing off blasts from the point at that night’s starting goalie at the tail end of every morning skate. It’s more of a ritual than a rigorous scientific process, though.
“I just figure the more you do it, the better you get at it,” Bouchard said. “It’s just practice, repetition.”
When told he was in the top 10 percent in the league when it came to shot speed, Seider said: “That’s obviously cool. But that’s not a stat I’ve ever checked.”
See, a 100 mph shot is a great weapon in hockey. But there are several reasons why it’s not the be-all, end-all the way a 100 mph four-seam fastball is.
For one, full-bore slap shots are very difficult to get off in game situations. There’s a reason most of the biggest blasts come from skills competitions with pristine conditions — a free run-up, a stationary puck (the timing is too tricky to risk playing for the aforementioned bounce effect) and no defender. In a game, time and space are often nonexistent.
“The game is just way too fast for taking the time, going all the way to the top and letting one rip,” Seider said. “People are just in your way more. There’s better coverage, opponents have better sticks on you. You hardly ever get off your best slap shot in an actual game.”
Another reason it’s not as critical: Harder isn’t always better. Back when the Blackhawks were winning championships, they had big Brent Seabrook blasting shots from the point on the power play. But light-hitting Michal Rozsíval would get his share of power-play time, too. And his wimpy little shots just seemed to have a knack for getting through traffic, hitting the net and creating rebounds.
“It’s hard to get off a big shot nowadays,” Bouchard said. “Sometimes it’s better to throw a quick wrist shot on net and see what happens. It doesn’t always have to be as hard as you can hit it. That’s not always the best shot.”
A big windup also gives a defender an extra split second to throw himself in front of the puck. That said, Jones posited that one big shot that gets very painfully blocked might lead to an open lane later in the game, as a defender thinks twice about stepping in front of the next one.
But even he acknowledged that rarely happens.
“It’s a competitive sport,” Jones said. “You’re still going to see guys laying out in front of shots to win the Stanley Cup, whether it’s 80 miles per hour or 120.”
After all, physics might be able to explain how flex and torque and weight transfer and potential energy all add up to a classic clapper. But there’s no explaining what drives someone to step in front of one.
“No one said we’re smart,” Jones said with a chuckle. “We’re athletes.”
(Illustration: Meech Robinson / The Athletic. Photos: Bruce Bennett, Patrick Smith, Steph Chambers / Getty Images)
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.
-
Detroit, MI1 week agoDrummer Brian Pastoria, longtime Detroit music advocate, dies at 68
-
Science1 week agoHow a Melting Glacier in Antarctica Could Affect Tens of Millions Around the Globe
-
Movie Reviews1 week ago‘Youth’ Twitter review: Ken Karunaas impresses audiences; Suraj Venjaramoodu adds charm; music wins praise | – The Times of India
-
Science1 week agoI had to man up and get a mammogram
-
Sports6 days agoIOC addresses execution of 19-year-old Iranian wrestler Saleh Mohammadi
-
New Mexico4 days agoClovis shooting leaves one dead, four injured
-
Texas7 days agoHow to buy Houston vs. Texas A&M 2026 March Madness tickets
-
Tennessee3 days agoTennessee Police Investigating Alleged Assault Involving ‘Reacher’ Star Alan Ritchson