Connect with us

Culture

How F1's Red Bull mastered the art of the 2-second pit stop

Published

on

How F1's Red Bull mastered the art of the 2-second pit stop

Between the Racing Lines | Formula One is complicated, confusing and constantly evolving. This story is part of our guide to help any fan — regardless of how long they’ve watched the sport or how they discovered it — navigate the pinnacle of motorsports.


Box, box.

Every Formula One fan is familiar with that radio message, the call for a driver to head in for a pit stop. Whether it’s changing tires, serving a time penalty or repairing damage, the pit stop is one of the most strategically important moments during any grand prix. The longer you spend off the track, the farther behind you fall. McLaren holds the world record for the fastest pit stop — 1.80 seconds, set during the 2023 Qatar Grand Prix — but no team has matched the consistency of Red Bull’s blazing pace.

For each of the last six seasons, the Milton Keynes-based team has won the DHL Fastest Pit Stop Award based on their stop times throughout the year. They should repeat in 2024, holding nine of the 10 fastest stops over the last five races. The top three came from the Chinese Grand Prix weekend, where Red Bull stunned the F1 world with two flawless double stacks, changing the tires on Max Verstappen and Sergio Pérez’s cars in rapid succession. The first took 4.18 seconds; the second, 3.95 seconds.

Whether a routine stop or a double stack, pit stops are choreographed dances. They begin the moment activity buzzes in the garage as more than 20 team members hurry out to their positions in the pitlane, waiting for the drivers to pull into the box. As Jonathan Wheatley, Red Bull’s Sporting Director, said, “Your perfect pitstop involves everyone having that perfect two seconds.”

It’s a game of millimeters and milliseconds. Here’s how it goes down.

The positions

Pit stops are a whirlwind of noise and speed, typically taking 2.5 seconds or less. The drivers need to hit their marks within the outlined area, and the crew members then jack up the front and back of the car, swap out the four wheels, and lower the car — all in unison when nailed perfectly.

“You get a buzz,” said Phil Turner, the team’s chief mechanic. “You get that adrenaline rush that you know you’ve had a good pit stop. You just tell by the sound, the noise, and how quick the car drops.”

Advertisement

It starts with the people, all of whom hold other team positions in addition to being on the pit crew. Teams are limited by how many people can be trackside, and some roles require people to be at computers when pit stops unfold. Wheatley described a pit stop as “an endeavor by 22 human beings.”

The wheels

Number of people: 12

This grouping is a trio per wheel — wheel off, wheel on and a wheel gunman. For wheel off and wheel on, strength is a requirement, said Jack Harrison, a mechanic on the team and a ‘wheel on’ member. Each wheel weighs over 44 pounds (20 kg). “You’ve got to have some sort of size to be able to manipulate the wheel to where you want it to be.”

The call is typically given around 15 seconds out, and the ‘wheel on’ crew carries the tires from the garage to the pit box. All three at the four tire locations crouch, and the wheel gunman readies to loosen and tighten the wheel nuts as the car slams to a halt. “I don’t ever think the car’s gonna hit me,” said wheel gunman Callum Adams. That doesn’t mean it can’t happen, but it’s a matter of trusting the driver will stop where they’ve practiced. Adams’ favorite part of his role is his proximity to the car because when it’s dropped, he can see the clutch engage and the wheels spin.

Advertisement

What may surprise fans about the wheel off, wheel on process is that the wheel nut stays attached to the tire itself. The wheel gunman loosens the wheel nut before the car has stopped, Adams said, and they’re working “on the wheel nut for the new wheel before it’s even on the car. That’s where you make up the time.” The ‘wheel off’ crew member is taking the tire off as the car is coming off the ground, thanks to the jacks.

Jackmen

Number of people: 4

This grouping includes two main players: a front and rear jackman.

Because the cars are so low to the ground, both jacks need to lift at the same time. If the car stops short, front jackman Chris Gent said he struggles “to get the jack under the car because the car is so low, and the jack will only go under really when the car is on all four wheels.” If the rear jack lifts before the front, Gent says he has to signal for the car to be lowered to fit his jack under the car.

Advertisement

“It’s also awkward (if) they stop on the first few laps of a race when the car has a full amount of fuel, and then the car is so much heavier than whether it’s midway or towards the end,” Gent added. “It feels completely different to jack it up when it’s a lap or two into the race.”

Each jack is different, but Gent described his as one that can rotate and has two levers, one that releases the jack and the other that allows the jack to tilt.

“When the car arrives, we jack it up, and you can jack it to a certain point, and then you can relax because it has two little feet that come out so the car is always at the same height, which is obviously quite important for the gunmen,” Gent said. He later added that, in theory, the jackmen don’t have to pull the lever to release the jack, which drops the car to the ground, but he does so in case there is a failure in the lights system.

There are spare jackmen for both positions, just in case of an issue. If a front wing is damaged, teams will use a side jack instead and replace the wing.

Gent has been hit by a car before but “never any real damage other than being knocked back quite a long way.” When it comes to getting over the initial reaction to jump out of the way of a moving vehicle, Gent said, “A lot of it is down to trust, isn’t it?”

Advertisement

Car steadier 

Number of people: 2

When the car is lifted, two people grab hold of the cockpit area, keeping it stable as other crew members do their work. If needed, they may clean the mirrors or radiators.

Front wing adjuster

Number of people: 2

Advertisement

These crew members help make aerodynamic changes to the wing, which impact understeer or oversteer based on the driver’s feedback.

Lollipop (aka the green light) 

This resembles how NASCAR teams hold out a sign as drivers enter the pit box. Within the world of F1, this individual would give the signal for when the car can release, but over time, it’s become more electronic. A system now indicates when the driver can leave the pit box.

The guns and jacks are essentially linked to a traffic light system of sorts, but the decision of when the car is released lies with the crew member with the override button, who monitors pit lane traffic. The green lights indicate the wheels are secure, and once there is space for a safe release, the driver gets the go-ahead to exit the pit box. If the stewards deem a pit box exit to be unsafe release, drivers may face a five-second time penalty.

The practice

Teams practice pit stops during a race weekend, and fans can watch from pit lane or their seats during certain windows. But these sessions also take place back at the factory, both in and out of the season. Harrison said Red Bull will practice anywhere from five to 20 pit stops during these sessions. Wheatley commented how, with Red Bull, “your first pitstop is likely to be for a race win.”

Advertisement

However, as Harrison noted, there is work that is done before a “real physical practice,” like what fans see during a race weekend. Whether it’s with the entire crew or just the specific group, like the corner crews, they’ll visualize the pit stops with props. Harrison said, “We’ll be using those to be able to help you. Even just with the movements, not necessarily the weight of the wheel.” It’s about being limber and warming up for the real deal.

Practicing with the entire pit stop team is easier, he said, because a big component of an efficient stop is listening to each other. As part of the corner crew, he finds it helpful to hear the jackmen and the four-wheel guns, but he can also see the different parts of the pit stop in his peripheral vision. Each grouping has slightly different techniques, so practicing with the same people becomes a strength.

“The size of people doesn’t make a difference,” Harrison said. “The amount of time you’ve been doing it with the same people makes a difference because I will put my foot in a certain position, which may be different to the left rear side. I’ll wedge my foot underneath the (wheel) gunman’s knee, and then I can feel where he moves. And then with sight as well, I can see where he moves so I can move to him.

“So if the car goes long or short, he’ll move his body to react to that, whereas I’ll do the same with my body to where his body moves.”

Given the length of the F1 season and because life happens, teams do select backups for each position. During practice, people swap in and out.

Advertisement

As for physical requirements, Harrison said core strength, stability, overall strength, and cardio are all key, and the crew works towards staying nimble. For the wheel on position, for example, core and leg exercises are helpful because you’re essentially in a squat position, waiting to fit the wheel to the car, Harrison said. Adams said that flexibility and core strength are important for the wheel gunman because if the car stops short or long, they need to adjust quickly while being low to the ground, not losing their balance.

An effective pit stop extends beyond the physical. It’s about the senses and muscle memory. The Milton Keynes-based team decided to try executing a pit stop in complete darkness during the off-season, and Adams said, “It made everyone sort of realize how much their role was done on feel and muscle memory.”

The final product

A pit stop technically begins the day before a race, Wheatley said.

That’s when the team discusses race strategy. Come race day, he’ll brief the team if there could be something unusual coming, and they’ll perform a series of stops during their routine practice session, mixing it up some to prepare. During the race, Wheatley keeps the team up to speed on how the race is unfolding strategically. Pit stops are about nailing the right timing, such as trying to do the opposite strategy of a rival to gain positions. Wheatley said, “Generally, we make a decision to pit, I think, later than some teams would be comfortable with. We like to have a team that can react very quickly and in a very short lead time ahead of a pit stop.”

When it looks like the call to pit is coming, Wheatley begins preparing the team, not getting too excited. “If I’m calm, everyone should be calm.”

Advertisement

Then comes the countdown. The crew members file out of the garage in a specific order to avoid getting in each other’s way, Gent said. Typically, the farthest people will leave first, he added, “so you’re not climbing over people to get to your position.”

Any number of things could go wrong during a pit stop, like a wheel gun failure (which is why they have spares). Mistakes do happen, like jacks not engaging properly on the first try. But as much as a smooth pit stop depends on the crew members, it’s also about the driver’s approach, specifically “the speed and consistency of deceleration into the pit box,” Wheatley said. If drivers don’t hit their marks, the other twenty-some crew members will need to adjust. That awareness also applies to the crew, particularly with the group changing the wheel. Sometimes the tires touch during the swap, and as Wheatley said, “When they touch, that’s when you get your 2.6-second stop and not a 2-second stop or a 1.8-second stop. So it’s down to marginal gains from that point.”

Another factor that can impact timings is the depth of the pit crew. In 2023, Wheatley said, Red Bull “faced immense challenges” with keeping a consistent first team because of the number of races, where they fell on the calendar, illness (a stomach bug floated around the Mexico City paddock, for example), and other life matters, like children being born. This is where the reserves come into play.

“Whilst it doesn’t mean you can do a 1.8-second pit stop every weekend, that’s not actually our target,” Wheatley said. “And so we need to have enough people trained and able to do 2.2-second pit stops every single time the car comes in the pits. And we’ve been lucky enough that we haven’t had such an illness that’s compromised that.”

At the heart of every pit stop are the people and the seamless teamwork. Each person’s routine is different, down to whether they watch the car come down pit lane or when they snap down their visor. Then comes the rhythm — stop, lift, wheels (and the loud whirring that comes with the guns), drop and release. Pit stops are a staple of an F1 grand prix weekend, yet each person describes the strategic event differently.

Advertisement

Turner opted for “a massive adrenaline rush.” Adams described them as “exhilarating” while Harrison chose “rewarding.”

Truthfully, it’s an art.

(Graphics by Drew Jordan/The Athletic. Lead image: Bryn Lennon – Formula 1/Formula 1 via Getty Images; Design: Eamonn Dalton/The Athletic)

Advertisement

Culture

What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

Published

on

What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

Advertisement

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.

Advertisement

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.

Advertisement

Wallace Stevens in 1950.

Advertisement

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?

Advertisement

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.

Advertisement

Continue Reading

Culture

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

Published

on

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

Advertisement
Advertisement
Advertisement
Advertisement

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.

Advertisement

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.

Advertisement

“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.

Advertisement

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.

Advertisement

This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

Advertisement

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.”

Advertisement

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

Advertisement

“You’re just a kid,

Gordie–”

Advertisement

“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

Advertisement

if I was!

It’s like

God gave you something,

all those stories

you can make up,

Advertisement

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

Advertisement

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?

Advertisement

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.

Advertisement

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.”

Advertisement

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.

Advertisement

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.”

Advertisement

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

Advertisement

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

Advertisement

They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

Advertisement

I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

Advertisement

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,

Advertisement

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.”

Advertisement

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.

Advertisement

“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.

Advertisement

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.

Advertisement

“The Body” Read by Wil Wheaton

“Will you shut up

Advertisement

and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

Advertisement

Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

Advertisement

“It’s not really much—”

“Naw,

we don’t expect much

Advertisement

from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

Advertisement

“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

Advertisement

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.”

Advertisement

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.

Advertisement

“I feel the loss.”

Wheaton remembers River Phoenix.

Advertisement

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.

Advertisement

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

Advertisement

Near the end

of 1971,

Chris

went into a Chicken Delight

Advertisement

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.

Advertisement

One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

Advertisement

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.

Advertisement

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.

Continue Reading

Culture

Do You Know the Comics That Inspired These TV Adventures?

Published

on

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.

Continue Reading
Advertisement

Trending