Culture
How Ohio State won the college football offseason with a new NIL approch
COLUMBUS, Ohio — When Gene Smith and Ryan Day met after the season, the athletic director made it clear he was going “all in” on football. Ohio State heavily investing in football is hardly new, but after three consecutive losses to Michigan, Smith wanted to take it up a notch before retiring this summer.
Smith sketched out a long list of donors that the Buckeyes needed to call. He passed it to his sixth-year head coach.
“Ryan, you need to call these guys,” Smith recalled telling Day. “I can answer the questions, but you’re the football coach.”
The program needed some upkeep on the Woody Hayes Athletic Center, and Smith expects to go to the Ohio State board in May with proposed changes before his June 30 retirement date. And whatever coaching changes Day needed to make, Smith was on board for those too. Day’s assistant salary pool is now $11.4 million, up from $9.3 million last season.
But most importantly, Ohio State needed to take a step up in the name, image and likeness realm. After taking it slow the first year or two, Smith and Ohio State more aggressively embraced NIL, with Day freed up to take a lead role.
“If I call, 99.9 percent of the time they know why I’m calling,” Smith said. “But if it’s Ryan, that’s a game-changer.”
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Most of Ohio State’s highly touted junior class returned, with the exception of Marvin Harrison Jr. and Michael Hall Jr. Ask people around Ohio State why, and they’ll say it’s a mix of the culture, wanting to beat Michigan and competing for a national championship. After all, nobody in the junior class has beaten the Wolverines.
“I had a first- or second-round grade,” cornerback Denzel Burke said, “but at the end of the day I had no gold pants, no Big Ten, no natty, so it’s just being able to come back with my brothers and do it for the state of Ohio.”
But there’s no denying that NIL helped make it possible to retain players who might have otherwise entered the draft.
“This was the best decision for me and there’s no reason for me to rush to the league — we have NIL now,” Burke said. “We’re not worried about too many things.”
Returning for senior season
| Player | Pos | Career starts | Honors |
|---|---|---|---|
|
Denzel Burke |
CB |
35 |
All-Big Ten first team |
|
TreVeyon Henderson |
RB |
29 |
All-Big Ten first team |
|
Donovan Jackson |
G |
26 |
All-Big Ten first team |
|
JT Tuimoloau |
DE |
25 |
All-Big Ten first team |
|
Emeka Egbuka |
WR |
22 |
All-Big Ten second team (2022) |
|
Jack Sawyer |
DE |
16 |
All-Big Ten second team |
|
Tyleik Williams |
DT |
12 |
All-Big Ten second team |
In addition to stars like Burke, running back TreVeyon Henderson and receiver Emeka Egbuka deciding to stay, Ohio State hit the transfer portal hard, landing one of the top portal classes in the country in the winter. The Buckeyes signed Freshman All-America safety Caleb Downs from Alabama, All-SEC running back Quinshon Judkins from Ole Miss, Kansas State starting quarterback Will Howard, Alabama starting center Seth McLaughlin and the No. 1 quarterback recruit in the 2024 class in Julian Sayin, who transferred from Alabama after Nick Saban retired.
The portal success wouldn’t have happened without increased alignment at every level, from coaches to administrators to NIL collectives and donors. There’s a sense of urgency inside the program that extends to Ohio State’s primary NIL collectives, The Foundation and The 1870 Society.
The Foundation, which signed an exclusive deal with Downs and also has a deal with Howard, top-ranked 2024 signee Jeremiah Smith and many others, has raised 10 times more than what it raised at this point last year, said Brian Schottenstein, a co-founder and board member of The Foundation.
The success Ohio State is having this offseason isn’t a byproduct of just one thing or one motivating loss. It’s been constant conversations since 2021 on how Ohio State can best approach NIL, and it has the Buckeyes at the forefront of the 2024 national title conversation.
“I think this is what the country was afraid of,” said Ohio State donor Gary Marcinick, founder of the non-profit Cohesion Foundation collective.
CB Denzel Burke is a potential first-round NFL Draft pick. (Tim Heitman / USA Today)
How did Ohio State get here?
When The Foundation started as the first of Ohio State’s NIL collectives in February 2022, skepticism and confusion followed. There was a belief among many that because the Buckeyes were already one of the premier football programs, how much did they truly need NIL to compete?
Many donors didn’t know how NIL worked, either.
“The university wanted to take their time and engage in understanding the dos and don’ts before just fully supporting it, and I would’ve taken the same approach,” said former Ohio State quarterback Cardale Jones, a co-founder and general manager of The Foundation. “The athletic department’s job is to raise money for the university as a whole, and you don’t want to steer dollars away if things aren’t on the up and up with a program or collective.”
Much has changed in NIL in the past three years for people like Jones, who has his hands on everything The Foundation does, even in recruiting. He’s the point person for talking to players, recruits and their families about NIL contracts. Former Ohio State safety Tyvis Powell fills a similar role with The 1870 Society as the director of player engagement.
Ohio State wasn’t against paying athletes at the start — most of its players had NIL contracts with at least one of the collectives — but for a time it wasn’t willing to go all in on NIL in recruiting.
“I think anything new takes time,” Schottenstein said. “Donors might have been confused, a lot of articles made NIL scary, but when it comes down to it, it’s just marketing deals for athletes.”
Ohio State’s growth is a mix of a few things, starting with Day’s evolving focus.
Before Ohio State’s loss to Missouri in the Cotton Bowl, Day began to think about taking on more of a CEO role, stepping back from calling plays on offense. He hinted at the possibility last offseason but didn’t turn the duties over to first-year offensive coordinator Brian Hartline.
He decided this offseason, with financial backing from Smith, that he would hire an experienced offensive coordinator he could trust to call plays.
The first hire was Bill O’Brien, who lasted just three weeks before taking the head coaching job at Boston College. Then came UCLA head coach Chip Kelly, Day’s mentor, who wanted to move in the opposite direction and narrow his focus to running an offense. Now Day gets more free time to manage the big picture.
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The impact of Day’s name popping up on a donor’s phone is substantial. Even new men’s basketball coach Jake Diebler has benefitted from his growing fundraising duties.
“We have a big list of contacts, but we’ve had them make the calls because it goes further,” Schottenstein said. “It makes it more real. They can talk about the team and make the donor feel they have the inside access. … It makes them feel part of the team and it helps them want to donate because they are part of the family.”
Mark Stetson, a longtime donor who founded The 1870 Society, said getting a call from the head coach can tip the scales for a donor who may be on the fence. It’s less about Day calling and asking for money than it is him explaining to donors how NIL can impact athletes.
“I think when you are communicating with a coach you can feel the need ,and that’s where you get a lot of the positives of NIL,” Stetson said. “You go across the non-rev sports, there’s kids who work two or three jobs to be able to live, but with NIL they can focus more on athletic and academic hours. Hearing that from the coach is a direct line to see the impact.”
This isn’t the first time Day has pushed for more NIL support. In 2022, Cleveland.com reported that Day told the Columbus business community he believed it would take $13 million to keep the roster intact.
But now with some responsibilities given to Kelly, Day has ramped up his NIL fundraising efforts on a more direct, day-to-day basis.
“It’s become much more of a part of it,” Day said. “You have to be involved with that now, because fundraising has always been important, but I think now it’s even more important.”
Quinshon Judkins had two 1,000-yard seasons at Ole Miss. (Adam Cairns / Columbus Dispatch / USA Today Network)
Can Buckeyes sustain success?
Being compliant in the NIL world takes a careful balance for football coaches and programs.
In the past, the coaching staff would have to wait for a student athlete or parent to bring up NIL and pass the prospect to the collectives, which is where Jones and Powell came in. Now, after a federal judge in Tennessee granted a preliminary injunction to prohibit the NCAA from enforcing its own rules against pay-for-play recruiting, that’s not the case.
Collectives are allowed to talk directly to recruits for the first time, simplifying the process.
“I think it makes us more powerful because we can talk to portal players when they enter,” Schottenstein said. “We couldn’t do that before, so it makes that donation even more important now because retention is important, but the transfer portal is too.”
There’s an education process that Jones enjoys when he’s talking to recruits. Both Jones and Powell are finding success in their roles because neither put together a long-term NFL career, but they have found a way to build careers off their success at Ohio State.
Powell, who was vocal about Ohio State’s struggles after the Cotton Bowl loss, has given Day credit for the changes he made on his staff and evaluating the program’s mindset around NIL.
“I challenged Ryan Day to look at his staff and figure out who is bringing something to the table and if they’re not, you have to get them out of there because you’re doing the kids a disservice,” Powell said. “I was hopeful he would make some changes and he did. They changed their approach on NIL in the offseason.”
There’s more to transferring to Ohio State than just receiving NIL money, which is something that players like Downs and Judkins have emphasized. Still, the additions of Downs, Judkins, Howard and McLaughlin were part of Ohio State’s NIL budget.
Ohio State transfer additions
| Transfer | Pos | Team | Honors/notes |
|---|---|---|---|
|
Will Howard |
QB |
All-Big 12 second team |
|
|
Quinshon Judkins |
RB |
All-SEC first team |
|
|
Caleb Downs |
S |
SEC Freshman of the Year |
|
|
Seth McLaughlin |
C |
25 career starts |
|
|
Julian Sayin |
QB |
5-star recruit in 2024 |
That’s not to say Ohio State just decided to pay every player a million dollars or more. Though no financial terms of NIL deals are disclosed, Powell said that Ohio State has roster construction priorities like any other team.
“If you are the No. 1 player in the country it’s easy to market and sell that, it’s easy to give them a bunch of money. But if you get these three-star kids, maybe they don’t have the big name or game, they aren’t getting a bag,” Powell said. “Now, don’t get me wrong, they’re getting a couple of dollars in their pocket, but I would not call it a bag.
“It goes off of team needs too. If you’re a premier defensive end, those go for more than a center. That’s the nature of the business. If a team needs a premier corner, then they will pay more for that guy than a defensive tackle. It reminds me of the NFL a little bit because when free agency hits, guys will overpay for that position because they need it.”
Though most of its spending goes to football, in part because of the sheer size of the roster, The Foundation has signed every player on the men’s basketball team, including the new transfer additions.
Excited to get to work on and off the field, in the Columbus community as a student-athlete partner of @TheFoundation1_
To learn more about THE Foundation and how you can support student-athletes, visit https://t.co/zKJsWeKmBC. #GoBucks pic.twitter.com/5fxHp6xn8p
— Caleb Downs (@caleb_downs2) January 25, 2024
The 1870 Society has only been around since the spring of 2023, so Stetson said they don’t have a lot to compare it to, but this year’s NIL fundraising has been substantial.
“I think there’s been some real extraordinary support,” Stetson said. “There’s been a huge influx of $10 a month and the bigger ticket purchases, as well. Regardless of trending year over year the support has been incredible.”
Everything is working for Ohio State now, but there are constant conversations about what’s coming next and accounting for the possibility of donor fatigue. Stetson said that’s where creativity on part of the collectives comes into play.
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The Foundation, for a week in January, matched all donations that were made. It ended up matching the $500,000 that fans donated, which also included a donation from former quarterback C.J. Stroud. In total, The Foundation raised more than $1 million in a week. It’s now in the middle of another matching promotion, which will extend to the end of May and has raised around $220,000 as of April 30, according to Schottenstein.
But more than just asking for donations, both Ohio State collectives have hosted events with the proceeds going toward NIL. In July, The Foundation will host what it calls “The Fantasy Experience,” which will allow participants to go behind the scenes like a prospective recruit to see what goes into a game day at Ohio State, meet alumni and more. In March, The 1870 Society, with the help of the football program, sold tickets to a tour of the Woody Hayes Athletic Center, which included meet-and-greets with players and coaches.
Stetson said he sees it as the collective’s job to find creative ways to raise money without always asking donors directly for money.
“It’s about creative events or opportunities for fans to get access or create new content, or being very engaged with the business community across the country, or how can we tap into what NIL is intended to be?” Stetson said. “I would hope that a donor-centric model has built a bridge and on the other side of that bridge is a more sustainable model.”
Regardless of what’s next, Ohio State is in a position to chase a national championship now with one of the best rosters in the country after watching its archrival win one last season. It happened thanks to a combination of strong recruiting, player retention and transfer portal success.
Amid the angst of losing to Michigan, Gene Smith hopes he helped put Ohio State on stable ground as former Texas A&M athletic director Ross Bjork gets set to take over this summer.
“Where we are with football, not winning Big Ten championships, I wanted to make sure that we did everything we could to make sure football has a real chance next year,” Smith said. “When I think about my legacy, I think about that. I hate to leave Ohio State when football is not back to winning Big Ten championships.”
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— The Athletic’s Stewart Mandel contributed to this report
(Top photo: Jason Mowry / Icon Sportswire via Getty Images)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
Culture
Do You Know the Comics That Inspired These TV Adventures?
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.
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