Culture
He raped a 12-year-old a decade ago. Now, he’s at the Olympics
Steven van de Velde will step into a picturesque sand court near the base of the Eiffel Tower on Sunday to meet his long-held ambition of becoming an Olympian.
And to let him represent the Netherlands at the Paris Games, the Dutch Olympic Committee agreed that he should stay outside the athletes’ village and not talk with media, who would certainly ask about his prison sentence for raping a 12-year-old girl when he was 19.
Van de Velde, 29, has been competing on the volleyball tour and in international competitions for several years, yet his selection to the Dutch Olympic team has prompted backlash and new attention to his troubling past.
The Dutch Olympic Committee and Dutch Volleyball Federation declined to make Van de Velde available and to comment to The Athletic beyond a statement that said in part that Van de Velde was included on the team “after careful consideration” and that he had “consistently met” their high standards. Van de Velde, approached as he arrived in Paris this week by a reporter from the Daily Mail, declined comment beyond the statements from the federation and committee.
Van de Velde was sentenced to four years in prison in 2016 after admitting that he had taken a cheap flight from Amsterdam to a small airport north of London in 2014 and had sex with a 12-year-old girl after they had talked online frequently for several months.
He was caught after he advised his victim to get a morning-after pill. Staff at a family planning clinic alerted the girl’s family and the police because of her age.
(Pablo Morano/BSR Agency/Getty Images)
Van de Velde served 13 months in prison, including 12 months in Britain before he was transferred to the Netherlands under a treaty between the countries. He was resentenced to a shorter term under Dutch law and was released in early 2017.
After coming out of jail, he gave an interview to Dutch newspaper Algemeen Dagblad in which he said: “I have been branded as a sex monster, as a paedophile. That I am not — really not.”
Van de Velde’s name is still on the UK’s sex offenders registry. Aylesbury Crown Court heard how he started talking to the girl on social media — on Skype, Facebook and Snapchat — and spoke to her almost every day over a few months.
Their communication started when she sent him a friend request. He initially thought she was 16 but even when she told him her real age, he did not break off contact.
On August 2, 2014, he boarded a flight to meet his victim in person. From Luton airport, he took a taxi 22 miles (35km) to Milton Keynes, the town where she lived, for their sexual encounters, including one instance of vaginal sex during which she complained he was hurting her. They also drank Baileys Irish Cream Liqueur together and slept on a cardboard box under a hotel stairway when they couldn’t get a room.
Before he returned to the Netherlands, Van de Velde advised his victim to get the morning-after pill because they had not used contraception.
Back in his home country, Van de Velde’s sporting career was taking off.
He had just won a national championship in 2015 and looked set to make the Dutch team for the following summer’s Olympics in Rio de Janeiro. Then a European warrant was issued for his arrest on child sex charges.
He was extradited to the UK on January 8, 2016, where he pleaded guilty to three counts of raping a child.
In court, his lawyer Linda Strudwick argued that Van de Velde was not a “predatory young man” and that flying to the UK to meet the girl had been a “spur-of-the-moment decision”. She claimed his actions were not grooming and that he did not make the journey “for the purpose of having sex”.
She said: “There was mutual support as two angst-ridden juveniles. He’s lost a stellar sporting career and he’s being branded a rapist. In Holland, the term means violent sexual assault without consent. The headlines say it all — ‘a sex monster.’ It’s plainly a career end for him.”
When Van de Velde was sentenced, it was revealed in court that the victim felt racked with guilt following his arrest and had been self-harming. Judge Francis Sheridan told Van de Velde: “The emotional harm that has been caused to this child is enormous. As she matures, she will have to come to realise that you are not the nice man she thought you were and hoped you might be.”
Under UK law, victims of sexual offences are granted lifelong anonymity, both during the legal process and beyond.
These Olympics will be the peak of Van de Velde’s career (Buda Mendes/Getty Images)
The sentence was reduced in the Netherlands because its law relating to sex with minors is less strict than the law in England.
In a TV interview one year after his release, Van de Velde attributed his crime to being a teenager and “still figuring things out”.
“I made that choice in my life when I wasn’t ready,” he told NOS. “I was sort of lost and now I have so much more life experience.”
He added: “Everyone wants to be liked, everyone wants to be respected, and with something like this on your record, it’s difficult. I can’t reverse it, so I have to carry the consequences. It’s the biggest mistake of my life.”
Since then, he has rebuilt his life and sporting career. He has competed for his country on the international stage since 2017, and in 2022 he married Kim van de Velde, a German beach volleyball player who has also trained as a police officer. They have a two-year-old son.
Marking a career high, Van de Velde will appear at the Paris Olympics alongside his playing partner Matthew Immers, 23, and the pair will hope to build on their recent success where they were runners-up at a tournament on beach volleyball’s world tour in May. Van de Velde has also competed at multiple world and European championships.
Their first group-stage match in Paris is against an Italian duo on Sunday morning.
“I know the Steven of today and I’m happy about that,” Immers said. “I feel comfortable with him, we take good care of each other. I’m 23, he’s 29. He’s a kind of a second father to me, who supports me.”
In its statement, the Dutch Olympic Committee said Van de Velde deserved a second chance as he had shown that he’d “grown and positively changed his life”.
The statement said: “We are deeply aware that the renewed publicity about Steven van de Velde is causing a lot of emotion, which we fully understand, as the events at that time were very serious. A lot has happened since then. Steven served his sentence and has completed an extensive rehabilitation programme with specialised professionals, including the probation service. Experts have concluded there is no risk of recidivism.”
“He is proving to be an exemplary professional and human being and there has been no reason to doubt him since his return,” said Michel Everaert, general director of the Dutch Volleyball Federation.
The volleyball federation added that “when Van de Velde looks in the mirror now, he sees a mature and happy man, married and father of a beautiful son.”
Pieter van den Hoogenband, chef de mission for Dutch Olympic Committee, said the moves to change his accommodations and restrict him from the media were necessary because attention on Van de Velde had magnified around the Paris Games.
“He’s not going to downplay it. We have to respect that and help him as a member of the team to be able to perform,” Van den Hoogenband said.
The IOC does not have its own rules for the selection of individual participants for games, deferring to each national olympic committee to make its own decisions.
“They (the Dutch Olympic Committee) have put out a statement, they’ve made it very clear there’s a lot of safeguarding going on, special extra safeguarding,” IOC spokesman Mark Adams told a news conference in Paris on Saturday.
Some national Olympic officials have made it clear they would not have chosen an athlete to play under similar circumstances.
“If an athlete or a staff member had that conviction, they wouldn’t be allowed to be a member of our team,” said Australia’s chef de mission, Anna Meares.
Van de Velde’s appearance at the Games has prompted fury from campaign groups who said he’d shown a “chilling” lack of remorse and empathy for his victim. A petition with nearly 81,000 signatures called on the IOC to ban known sex offenders from competing.
The Survivors Trust, a UK-based group which supports victims of sexual violence, said in a statement that his inclusion was a “further endorsement of the shocking toleration we have of child sexual abuse.” It added: “The rape of a child was planned, calculated involving international travel, and will undoubtedly cause his victim lifelong trauma, irreversibly changing the course of her life. As a society, we have to start embracing a zero-tolerance approach to this heinous and costly crime.”
“An athlete convicted of child sexual abuse, no matter in what country, should not be awarded the opportunity to compete in the Olympic Games,” added Julie Ann Rivers-Cochran, executive director of The Army of Survivors. “Despite Van de Velde’s justifications, there is no excuse for raping a child. Van de Velde’s statement reveals a lack of remorse and understanding of the consequences of his actions. Raping a minor is not a ‘misstep’ — it is a criminal violation that should exclude people from participation in the Olympic Games.”
When Van de Velde was sentenced in 2016, Judge Sheridan told him: “Your hopes of representing your country now lie as a shattered dream. Your actions in those two days in England have wrecked your life and you could, had you never come to England and committed these offences, have been a leader in your sport.”
Yet, eight years on, Van de Velde’s dreams are far from shattered.
(Top photo: Lucio Tavora/Xinhua via 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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