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'His legs have gone': Unpicking the four words no footballer wants to hear

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'His legs have gone': Unpicking the four words no footballer wants to hear

Last season, it was a Brazilian midfielder at Liverpool. This season, it’s been his international team-mate at Manchester United.

“I think Casemiro’s legs have gone,” Jamie Carragher told the Covering Liverpool podcast in October. “I noticed it last season at Anfield and I didn’t like what I saw. It took me back to watching Fabinho last year for Liverpool. I want to be the first to say it (about Casemiro). I don’t want to say it when everyone else is saying his legs have gone.”

Regardless of who said what and when, Carragher — who played for Liverpool until he retired at age 35 — is not a lone voice in this debate, and Fabinho and Casemiro are far from the only players singled out for seemingly having lead in their boots.

Any footballer over the age of 30 who is struggling for form leaves themselves open to that type of criticism, but in particular if they are now coming off second best in the sort of duels they used to win and playing in a way that makes it look like the game is now a split-second too quick for them.

Casemiro, who turns 32 on Friday, was at risk of straying into that territory against Luton Town yesterday. “A serial offender who kept fouling time and time again”, was the way former England midfielder Jamie Redknapp, a pundit on UK broadcaster Sky Sports’ coverage of the match, summarised his display.

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Withdrawn at half-time, and fortunate in the eyes of many to have avoided a second yellow card, Casemiro is collecting bookings at quite a rate, even by his standards. He has now been cautioned in eight of his last 11 matches for club and country, and four out of five since returning from almost three months out with a hamstring injury in January.


Casemiro looked off the pace at Luton (Shaun Botterill/Getty Images)

What is clear is that the spotlight can be unforgiving for older players and, at times, unfair.

Gareth McAuley, who was still playing centre-back in the Premier League at the age of 37, viewed the “legs have gone” comment as an “easy shot” when it was directed at him at West Bromwich Albion, especially given how hard he was working to keep in shape and that it was not backed up by the data he was privy to at his club.

“I was thinking, ‘I’m doing more than people who are 10 years younger’,” the 80-cap Northern Ireland international McAuley tells The Athletic. “You think, ‘Do you know what? Show some respect’. But it’s getting even younger now: boys at 28 and 29 are being described as ‘done’.”

Not every player has reason to feel hard done by in this situation — in some cases, they are in denial.

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One former international midfielder, not long retired from playing, was viewed by his coach as ‘undroppable’ because of his status. But others at the club felt the player had become a liability as he could no longer track runners and move fast enough.

Some are honest enough to hold their hands up and accept that time has caught up with them – a reality that can creep up on players during a season or, in the case of Gary Neville, be revealed in one brutal moment.

At West Brom on New Year’s Day in 2011, a 35-year-old Neville made his first start for Manchester United in two months. He describes in his autobiography how he made West Brom winger Jerome Thomas look like Cristiano Ronaldo during a deeply uncomfortable 71-minute performance in which he was lucky to avoid a red card.

Neville recalled how Mike Phelan, United’s assistant manager at the time, wandered across for a word when the ball rolled out of play close to the dugouts.

“You’re f***ed, aren’t you?” Phelan said.

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Neville nodded.

Thomas, who made more than 150 appearances in the Premier League with four different clubs, remembers that game well, and also the comments Neville made later.

“I guess that was how Gary rationalised it because he was on his way out and he didn’t feel he was at his best,” Thomas says. “I don’t want this to come across the wrong way, because Gary Neville is a legend, but what he doesn’t realise is he wasn’t the only person I was doing that to. As a left-winger, I would go into every game with the goal to either get the right-back sent off or subbed.”


Jerome Thomas made Gary Neville realise his career was over (Shaun Botterill/Getty Images)

Neville would have been dismissed on another day. Instead, he was subbed. The following morning, he told United manager Sir Alex Ferguson that he was retiring. He never played for them again.

Sol Campbell, Neville’s former England team-mate, had a different experience before bringing the curtain down on his career.

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“My legs never went. It was just you needed the right rest period,” Campbell, whose last match was as a 36-year-old for Newcastle United in the 2010-11 Premier League, tells The Athletic. “Once I went back to Arsenal (for a second spell midway through 2009-10), I was 35 and my numbers weren’t there, but getting back to good training helped me compete with the guys. It’s difficult, though, as you get older with the recovery. It’s hard on the body.

“If you play one game a week it’s great, but sometimes it’s four games in 10 days and that’s when you start to feel it. If you have a sympathetic manager who understands that you’re not 21 anymore, then it’s OK. So, for me, it’s not about ‘Legs gone’, it’s about recovery.”


His legs have gone.

“Sport, never mind football, is full of throwaway phrases like that,” says Chris Barnes, an experienced sports scientist who has worked for several professional clubs, starting with Middlesbrough in 1998.

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“Wearing the sports scientist’s hat, one of the big challenges we have in football is getting away from focusing on averages and norms and looking at players as individuals. The reality is that phrase is appropriate (for some players) and in others, maybe not so.

“If you track a player’s journey from a physical perspective, it’s pretty widely accepted that they peak around about 26 to 28. What that means can be interpreted in a number of ways – peak is different for different players in terms of how fast they can run, their ability to do repeated high-intensity activities and so on.”

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GO DEEPER

What age do players in different positions peak?

Although the data never lies, it is important to not get carried away with who runs the furthest, which is to take nothing away from the evergreen James Milner, who topped the charts at the age of 37 last season.

“Total distance is full of noise,” Barnes adds. “The Blackburn winger (Morten Gamst) Pedersen always had the highest total distance of any game, but you must look at what is effective work and what isn’t.

“(Centre-back) Robert Huth, who was at Middlesbrough, would always come and look at how little work he’d done, because he felt his best games were performed when he made good decisions and was positionally correct and therefore the amount of work he needed to do was less. So it’s not really a ‘More is better’ situation. Football isn’t a maximal sport. It’s what typifies, if you like, the DNA, the characteristics, of a player’s game.”

How players engage with their physical data is interesting. Some bury their head in the sand or — and this was witnessed first-hand with a Premier League centre-back during a fly-on-the-wall pre-season piece a few years back — even challenge the figures. Others go actively looking for their data, to use it as a yardstick to not just inform how hard they need to work in training, but also to ensure that the manager doesn’t have an excuse to leave them out.

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“The high-speed running and things like that, you get your data and they (the sports scientists) know exactly what you need to be hitting,” McAuley explains. “But in certain sessions as a defender, you won’t get what you need. So I could say, ‘OK, I need another 200 metres of high-speed running’, so I would go and run box-to-box to get that and keep me on the sports-science knife-edge between injury and peak condition.

“I had (Craig) Dawson, 10 years younger than me, who was trying to take my place, so I had to make sure I was trying to be better, trying to stay quicker. In a way, that was driving me. Also, if you weren’t in the team and you’re knocking on the manager’s door, he can’t say that your data has dropped off in training and that your legs have gone.”

SkillCorner works with around 150 clubs around the world and is at the forefront of physical data. It released some fascinating graphs on Twitter in November: the first shows the top speed of players by age during last season. In the over-30s category, Manchester City’s Kyle Walker, 33, remained the fastest player, while both Jamie Vardy and Ashley Young, who are now 37 and 38 years old respectively, were way above the average for their age.

That said, it is also worth remembering Barnes’ comment about the importance of analysing players as individuals and against their own benchmarks rather than comparing them to others.

Every Premier League club will have access to this kind of data and, crucially, will be able to see how a player’s physical levels go up and down over time.

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This next SkillCorner chart gives a glimpse of what that looks like — in this instance, it shows Dani Carvajal, the now 32-year-old Spain and Real Madrid right-back. Carvajal’s high-intensity activities per 90 minutes are represented game-by-game and there is also a season average, measuring what SkillCorner describes as “a player’s longitudinal physical performance”.

Of course, there are other factors to take into consideration, especially when analysing an extended period. Managerial, tactical and positional changes can all impact the physical data gathered in matches.

“In training, the sports scientists have a responsibility to be looking at appropriate data to give a mark on the condition of the players they’re working with, and that would involve things like recovery between bouts — heart-rate data is super-informative in things like that,” Barnes adds.

“These high-intensity actions and efforts are the key and unlock a better understanding as to whether the qualities and characteristics of a player have changed. But you definitely have to take into account the tactical context: how the game is evolving and how coaches want it to be played.

“It’s been widely documented how the physicality of Manchester City’s game has grown year on year with Pep Guardiola’s philosophy and Kyle Walker has been able to fit into that. If anything, it’s provided a platform for him to showcase the qualities he possesses even more.”

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“You play football with your head and your legs are there to help you.” – Johan Cruyff

Peter Taylor was singing from that hymn sheet when he brought Roberto Mancini to Leicester City in 2001, Taylor, the club’s manager at the time, openly admitted he signed the 36-year-old Italian forward “for his football knowledge, not his legs”. Chelsea clearly felt the same way about Thiago Silva joining them at the age of 35.

Barnes talks about how “game intelligence continues to increase” and, at times, can compensate for the ageing process, but he also points to a 2015 study that he was involved in looking at “longitudinal match performance characteristics of UK and non-UK players in the English Premier League” and the hard evidence that football at the highest level had become “seriously more demanding from the point of view of the high-intensity requirements”.

“SkillCorner has carried on that work and brought it up to date and that has shown that the demands of competing in the game have grown again,” Barnes adds.

“Gary Neville, Kyle Walker and Dani Carvajal are interesting examples, because they’re all right full-backs, and I would argue that full-back and striker are where this evolution has been most dramatic in terms of requirements to play the game.”

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Kyle Walker’s athleticism remains undimmed (Justin Setterfield/Getty Images)

For a No 6 in the modern era, the skill set and the physical demands are huge.

“In this position, you need a guy who wins challenges and protects everybody, but who plays football as well,” Jurgen Klopp, Liverpool’s manager, said last season. “Fab (Fabinho) did that for us for plenty of years (and was) absolutely brilliant. At the moment, it’s not clicking. We have to go through that.”

Outside the club, pundits were quick to judge what had gone wrong with Fabinho. “You know when you’re a midfielder and your legs just start to go and you can’t get around the pitch as much as you would like, that’s what it seems to be,” Micah Richards, the former Manchester City defender, told BBC Sport.

Defensively, Fabinho’s output did drop last season. According to Opta, he was recovering the ball less, winning fewer duels and not making as many interceptions, which helps explain why Liverpool were happy to cash in on him in the summer. With Casemiro, his data shows he is making fewer interceptions in the Premier League this season compared to last (down from 1.4 per game to 0.9) and winning possession on fewer occasions too (down from 8.7 per game to 6.0).

Of course, none of those statistics can be seen in isolation. Last season at Liverpool, for example, Fabinho was far from the only player struggling for form. There is also the question of the team setup and how much that leaves a player exposed. Casemiro, in now Sky pundit Gary Neville’s words, was “absolutely torn to shreds” against Wolves in the first match of this season — a comment that was an indictment of the shape of United’s midfield as much as anything.

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In the absence of detailed physical data to prove otherwise, people will draw their own conclusions from what they see during matches (just as managers used to do before the sports-science revolution) and it doesn’t take much for a narrative to take hold, especially when a player is in their thirties.

The sight of 20-year-old Jamal Musiala skipping away from Casemiro three times in the space of seven minutes during United’s 4-3 defeat against Bayern Munich in the Champions League earlier in the season (albeit the Brazilian scored twice that night) provided one of those moments.

In reality, Casemiro was always going to be an easy target for the “legs have gone” narrative, mindful of the reaction when United agreed to pay Real Madrid £70million ($88.2m at current rates) for a 30-year-old in summer 2022. Even INEOS, United’s new investors, were surprised at the numbers involved in the deal.

As a counterpoint, it is important to remember that Casemiro performed really well for United in that debut season and with more time to get up to speed after his recent injury, and with the hugely impressive teenager Kobbie Mainoo operating in the same midfield, there is an argument he could still be an important player at Old Trafford.

Either way, it’s a matter of time before the same four words are levelled at someone else.

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McAuley smiles. “I think that (phrase) is kind of deep-rooted in pre-sports-science football,” he adds.

“Do the legs go? Maybe. But what I would say is that it’s the desire to keep doing it — the mental side. You can tell yourself to do anything. And with the mind and the willpower to do it, you can.”

(Top photos: Getty Images; design: Eamonn Dalton)

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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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