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How fast could a human being throw a fastball? 106 mph, 110 mph — even 125 mph?

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How fast could a human being throw a fastball? 106 mph, 110 mph — even 125 mph?

The 10-second 100-meter dash. The four-minute mile. The two-hour marathon. In baseball, is the 110 mph fastball the next big number to fall? What actually is the upper limit when it comes to professional pitchers throwing their fastest pitches?

There is some debate about what the fastest fastball to date has been. In the documentary Fastball, filmmakers looked at a few key moments from the past. Bob Feller threw a ball faster than an 86 mph motorcycle. Nolan Ryan was clocked at 100.8 mph by a radar gun in 1974. If you convert Ryan’s number to the out-of-the-hand methodology used to measure pitch speed today, you get 108 mph. For some, that counts as the fastest pitch on record.

We’ve been tracking major-league pitchers with the same quality of technology since 2007, though, and nobody has thrown harder than Aroldis Chapman and his 105.8 mph fastball in 2010. So Ryan’s 108 would be a large departure from 15 years of tracking pitches — and, for what it’s worth, it’s a large departure from radar gun readings over the rest of his game that day, as well as the rest of his career, which usually topped out around 96 and 97 mph.

Since those other pitchers were clocked using outdated technology, it’s probably fairest to call 105.8 mph the modern record in fastball velocity. So that’s how fast a human has thrown the ball. But what’s the fastest a human being could throw the ball?

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“When you build up a simple physics model that is essentially a series of collisions between body parts, you get a max fastball velocity of about 125 mph,” said Jimmy Buffi, who has a PhD in biomedical engineering. Buffi is a former Los Angeles Dodgers analyst and is a co-founder of Reboot Motion, a player development consultancy firm.

“We’ll need to use new methods,” said Kyle Boddy, current Boston Red Sox consultant and the founder of Driveline Baseball, a player development lab and consultancy company. “If there is a way to continue on, it won’t be with current methods. Using the best mechanics from elite pitchers, piecemeal, is unlikely to be the way we can create the 110 mph pitcher.”

Others thought about the potential for injury in this pursuit – pitching injuries have been up with velocity, after all. Maybe we’re already at the limit?

“I don’t think people are going to be able to throw that hard,” said the Dodgers’ Bobby Miller, the league’s third-hardest throwing starter, about numbers like 110 and 125 mph. “You reach a certain point where your arm will probably break.”

That’s three different answers. Let’s take a closer look at each.

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The case for 125 mph

There’s a concept in pitching called the “kinetic chain,” which describes the transfer of force from the ground, and the larger muscles in the legs, up through the core and out to the end of the arm. If you work in a purely theoretical space, that chain is basically a bunch of interactions that attempt to conserve the momentum created down low as it travels out to the arm. Buffi’s job at ReBoot is to help make those transfers as efficient as possible. He created a physics model to describe them for the purposes of answering this question.

“To come up with this toy example,” he said, “I thought of the pitching motion as essentially a series of energy transfers between two masses, similar to a large ball colliding with a smaller ball. The legs are the larger mass, and they transfer energy to the torso, which transfers energy to the upper arm, then to the forearm, then to the hand, then to the ball.”


A pitcher’s kinetic chain consists of six phases. (Graphic: Drew Jordan / The Athletic; photo of Paul Skenes: Rick Osentoski / Getty Images)

The relative sizes of each of those muscle groups govern the amount of energy that can be transferred in each interaction, just as it is in the classic physics problem in which a big ball hits a smaller ball. In the model that Buffi created, a 200-pound person putting 500 pounds of force into the ground while being 85 percent efficient in his transfers (an efficiency that is elite, but within the range of possibility, in his estimation) would throw 125 mph.

“Even though it’s a toy example, when you put in reasonable energy transfer numbers and ground reaction force values, you actually get reasonable pitching velocity estimates,” said Buffi.

One of today’s hardest throwers, Oakland closer Mason Miller, agrees that the size of the player and force into the ground was a common denominator when you look at the hardest throwers.

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“Physically, I’m 230 pounds, maybe 240 at my biggest. Chapman is like 250 pounds,” said Miller. He has thrown the fourth-fastest pitch this season at 103.7 mph, which trails only a couple Chapman fastballs (one at 104) and one from Angels reliever Ben Joyce. “Force production into the ground is important, we’ve seen that from force plate testing, that’s a good measure of power production.”

But there are some flaws in this case. Ground force reactions north of the ones Buffi used have been recorded already by athletes at Driveline Baseball, and they didn’t throw 125 mph. It’s way out in front of what’s been observed, as well.

Said Miller: “125 seems like it’s way out of our current existence.”

“Oh my goodness, 125, that’s crazy,” said Twins’ closer Jhoan Duran, who has topped out at 104.8 mph.

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The case for 110 mph

The study of biomechanics, or the mechanical laws relating to the movement and structure of living organisms, has unlocked velocity for a lot of today’s hard throwers. The average four-seam major league fastball, measured by the same technology and methodology, has increased in velocity every season since Major League Baseball started tracking it, all the way from 91.1 mph in 2007 to 94.1 now.

Sam Hellinger of Driveline Baseball shared an example of how this understanding of the body has helped players train to get more velocity. Justin Thorsteinson, a former Division I pitcher hoping to sign on with an organization, came to them throwing 87.7 mph in June and by August was throwing 91.5 mph, and his changing how his shoulder moved was key. Scapular retraction — in rudimentary terms, how far back the throwing shoulder reaches before coming forward — has been linked to velocity by biomechanics studies because it creates a big separation between the hip and the shoulder. As that separation snaps back like a rubber band, torso speed is accelerated, which is then transferred to the arm. That was a big focus for Thorsteinson.

“Based on Justin’s bio report, we determined that his most glaring need mechanically was his arm action, specifically his max shoulder external rotation and scapular retraction,” said Hellinger.

After some work with weighted balls and specific drills, Thorsteinson improved his scores in the specific biomechanics that they were targeting, as you can see also from this picture, which shows how much he improved his shoulder retraction.

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Justin Thorsteinson's before and after shoulder action.

Before (left) and after (right) for Justin Thorsteinson, showing more shoulder retraction after the drills. (Driveline Baseball)

So could a 250-pound monster of an athlete refine each of his movements to the best of current knowledge and bust past the 106 mph ceiling towards the 110 mph that Boddy thought possible?

“If you’re getting bigger than Chapman, who throws 105, if you get any bigger, you lose coordination,” said Dodgers starter Walker Buehler. “He’s as big and as strong as you can be, and his delivery is all about velo.”

Boddy is also not sure that a big dude, plus the best piecemeal mechanics of our time, was the right way forward.

“We’ll need to use new methods, like simulation of human movement with millions of synthetic data points using machine learning and artificial intelligence to explore the entire latent space of possible mechanical outputs and muscular contributions to the throwing motion,” said Boddy. “This is something Driveline Baseball has been working on for years and is rapidly becoming a priority project — primarily for durability improvements over performance gains, though we anticipate breakthroughs in both realms over the coming years from our Sports Science and Research teams.”

In other words, instead of taking our mythical 250-pound flamethrower and then giving him what modern research thinks is the best mechanics in the legs, the torso, the shoulder, and the arms, Boddy is hoping that AI could help us think of new ways those body parts could move in concert with each other, in order to identify even better possible mechanics.

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Could AI do this? Given the rapid rise of that technology, it seems plausible that we could see gains from re-evaluating current processes, even ones that involve the movement of our bodies.

The case for 106 mph

Let’s flip over to a different sport for a second. Over in the 100-meter dash, we have records going back to the 1970s. If we track the best times by year, it looks like we’re hitting a bit of an asymptote — instead of large gains like we saw in the 1980s and ’90s, we’re fighting over smaller increments of change.

If you altitude-adjust these numbers — running higher up can shave some milliseconds, as we saw with a couple of record-breaking runs earlier this century — we’re zeroing in around 9.7 to 9.8 seconds as perhaps the fastest a runner can manage in a neutral setting. This is seen by some to show that modern training, nutrition, and equipment have pushed the body as far as it can go. There are similar graphs in other running sports that suggest the same.

The maximum pitch velocity seems to be following a similar trajectory in baseball. Chapman threw 105.8 mph in 2010 and since then, the average best fastball has been 104, with a peak of 105.7 (Chapman again in 2016) and a nadir of 102.2 (in 2020, of course). The best non-Chapman fastball is around 104 mph in any given season.

There are some differences between pitching and running, though. Here’s where Glenn Fleisig, the director of biomechanics research at the American Sports Medicine Institute, comes in.

“Fifteen years ago I was quoted as saying that I didn’t think top velocity or the ceiling going up, but I foresee it getting pretty crowded at the ceiling,” said Fleisig. “It wasn’t a lucky guess that I pulled out of my butt.”

“When others talk about the ceiling, they talk about physics and statistics. Maybe by the laws of physics, maybe people could throw faster. Maybe the highest number could keep going up like it (did) for runners, because the training can improve, the mechanics and biomechanics can improve, the nutrition and supplements can improve,” he continued.

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“The difference here is that we’re pushing this little ulnar collateral ligament to its limit. We are strengthening our muscles and improving our mechanics and nutrition, but based on how the body is built, the ligaments and tendons don’t improve proportionally to the other parts of the body and the process.”

When that ligament tears, the pitcher needs Tommy John surgery to get back on the mound, and those surgeries are more common than ever. How much stress that ligament can handle might be up for debate.

“No one really knows how much stress a UCL can really take, because of a problem I call cadavers and robots,” said Randy Sullivan of the Florida Baseball ARMory on a recent podcast. “We determined how much stress a UCL can take through a cadaver setting where we found that it tears at 35 newton-meters of torque, and then we used motion capture to determine that it can tolerate on a single pitch, it has to accept 70-75 nM of stress.  We got the bottom number from a person who wasn’t alive; living tissue wouldn’t react the same way. And we got the top number from a model, a mythical robot.”

Fleisig, who authored the study that looked at how much stress the UCL could handle in cadavers, saw that second number in a slightly different light.


Throwing high-velocity pitches puts a great deal of stress on a pitcher’s UCL. (Drew Jordan / The Athletic)

“That 70-75 nM dynamic stress from biomechanics analysis is on the entire elbow, and the UCL does about a third of that resistance, your bones and tendons help with that resistance,” he points out. Taking a third of 75 nM leaves the current stress on the elbow within the 35 nM maximum we see in cadavers.

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The sport might be telling us something with the spike in arm injuries. All those torn ligaments, which are increasingly tied to top-end velocity by the best available research, seem to suggest that we are running up on the physical limits of that little tendon. Maybe 106 is all that we can do.

“I’ve thought about it before,” said Joyce, the Los Angeles Angels pitcher who has thrown the hardest this year and also had a fastball tracked at 105.5 mph in college. “I would think someone will hit 106.0, but I don’t know if there is much more than that.”

Where do we go from here?

The work to improve the ceiling will go on, no matter what injuries say, because of the reward system in place for pitchers who can throw hard. The highest draft picks, the biggest free-agent contracts — those go to the fastest fastballs, and that’s not likely to change in the short term.

Joyce has an identical twin who tops out at 98 mph, with similar mechanics and identical genes. So what separated Ben from his brother Zach?

“I didn’t do anything specific,” said the harder-throwing Joyce. “I just always wanted to throw hard, so I tried to throw harder every day, kept throwing harder and harder, and it eventually worked out.”

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Joyce pointed out that he hadn’t really optimized his mechanics or done anything special in that regard. He’s just throwing 103 and 104 on pure willpower. He’s also a little smaller than Miller and Chapman. Maybe the next kid is 50 pounds heavier, has that same iron will, ends up as a reliever where he can max out on fewer pitches, and also optimizes his biomechanics. That scenario seems likely to push the top-end velocity some … but how much higher if that little ligament is taking all it can handle already?

If that combination of inputs only pushes maximum velocity forward a tick or two, it might behoove young pitchers to consider other goals as they come up the ranks. In other words, if we get to a point where everyone throws harder than 94 mph in the big leagues, but nobody really throws harder than 106, maybe the best way to stick out in the future will be to demonstrate a pitch mix with varying velocities and movements, with good command. Maybe the success of softer-throwing pitchers such as the Royals’ Seth Lugo, who throws eight different pitches from two different arm slots, and the Phillies’ Ranger Suárez, who keeps the ball on the ground with great command, can provide new role models for young pitchers.

As the injuries mount in the search for velocity, chasing a maximum number that might not even be possible may not be the best plan for a young arm interested in making the most out of his talent.

— The Athletic’s Sam Blum contributed to this story.

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(Top image: Dan Goldfarb / The Athletic; Photo of Paul Skenes: Justin K. Aller / Getty Images)

Culture

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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