Connect with us

Culture

How two obscure coaches built the basketball podcast top coaches swear by

Published

on

How two obscure coaches built the basketball podcast top coaches swear by

Last week new Michigan coach Dusty May spent a day with the Miami Heat staff, then flew to Pittsburgh to trade ideas with Utah Jazz coach Will Hardy and Charlotte Hornets assistant Josh Longstaff. May will read any book or study any basketball team’s film if he thinks it might equip him with an idea or a play or a leadership tactic.

And part of his continuing education is a podcast from two coaches most basketball fans have never heard of.

While driving to lunch last February, May listened to Olympia Milano coach Ettore Messina break down the spacing concepts in his offense. The previous week, the voice of Tokyo Hachioji Bee Trains head coach Tyler Gatlin had come through May’s speakers. The next week he would hear from former NBA head coach Stan Van Gundy.

The globe-spanning lessons came from the Slappin’ Glass Podcast, which has turned into a word-of-mouth hit for coaches at every level of the sport, four years and 201 episodes in.

“I listen to every episode,” May said. “My staff listens to just about every episode. I think a majority of college coaches probably listen to it regularly.”

Advertisement

Jeff Van Gundy stumbled upon one of the hosts’ video breakdowns — they also have a weekly newsletter and YouTube channel — and was so impressed he called them up to say how great it was. Since then, he has encouraged some of his best friends in the business to go on their show, which is how two obscure basketball coaches who played together at Division III Chapman University end up on a call with Hall of Fame football coach Bill Parcells.

“Everybody’s wary of going on a podcast where they veer off into things that they aren’t able to discuss,” Van Gundy said. “They know they’re going to be straight basketball. There’s no ‘gotcha’ questions. It’s not overly dramatic clickbait, like ‘who’s the best player?’ … They’re truly trying to help coaches coach better.”

The show’s guest list features some of the most respected basketball coaches in the country — Brad Stevens, Geno Auriemma, Rick Pitino, Tom Thibodeau, Mike D’Antoni, the Van Gundy brothers, John Beilein, to name a few — and just as many big names in the international game. What started as a self-improvement project for the hosts has become a shop-talk paradise for coaches and hoops diehards at every level.

“You can put one of those on in an hour and you’re generally a better coach by the end of it,” said Saint Louis coach Josh Schertz.



Carney and Krikorian in Berlin, the night the idea for the podcast was hatched. (Courtesy of Dan Krikorian)

Dan Krikorian’s initial plan was to be a musician when he graduated from Chapman in 2007. Between tours, he made extra money giving shooting lessons, coaching a youth team, and eventually coaching the junior varsity team at his high school alma mater. “Once I stepped foot in the gym to coach, I was like, ‘OK, this is what I want to do,’” he said. In 2013, Krikorian returned to Chapman as an assistant coach. This summer, he was elevated to head coach.

Advertisement

Pat Carney played professionally for 12 seasons in some of Germany’s top basketball leagues. In 2018 he retired and stayed in Germany to pursue a coaching career. The two young coaches and former teammates stayed connected by phone, studying other teams around the world and talking ball. Over beers one night in Berlin after Krikorian’s band had played a show, Krikorian suggested they turn those jam sessions into a podcast and interview the coaches whose systems piqued their interest.

The idea was mostly forgotten until a year later, when Krikorian and Carney were discussing the motion offense of Division III Yeshiva University, which had just gone 29-1 running a modern-day replica of Bob Knight’s system at Indiana. Krikorian and Carney wanted to pick the brain of coach Elliot Steinmetz, so they set up a Zoom. Right before the meeting, Krikorian suggested he record it. He already had all of the sound and editing equipment; if it went well, he could turn the interview into their first episode.

The pandemic had made it more commonplace for coaches across the world to connect over video call. The podcast’s first episode, published on Aug. 17, 2020, was not as polished as what the Slappin’ Glass guys produce today, but they enjoyed it so much they decided to make it a weekly routine.

The audience was small at first — “our moms,” Krikorian jokes — but they got some bumps whenever a famous guest joined the show, like Jeff Van Gundy in February of 2021. The hosts put together a list of coaches they’d love to interview, took suggestions from coaching buddies, and then started shooting their shot. To their surprise, they rarely heard no.

“They ask really good questions,” said Alabama assistant Ryan Pannone, the show’s third guest while coach of the G-League Erie Bayhawks. “And as a result, because their product is good and they’ve had good coaches speak on it, more coaches are willing to come on because they listen to it.”

Advertisement

Their curiosity and research seems to loosen lips. Beilein, who has always been guarded with what he shared publicly about his two-guard offense, explained the teaching points to the Slappin’ Glass guys without hesitation, then praised the questions they had asked him.

“I haven’t talked basketball to anybody like this in a bit,” Belien said near the end of the interview.

Most coaches approach podcast interviews expecting to be dragged into story time, but the Slappin’ Glass guests quickly find themselves delving into the intricacies of their methods.

“That’s the ideal for us,” Carney says. “It’s not an interview. Let’s talk some hoops.”

The show’s ethos: Everything that a coach does is interesting.

Advertisement

“The best thing about basketball, and what keeps us having conversations fresh and new every week, is that there’s so many ways to win,” Carney said. “There’s so many ways to teach, so we’re never assuming there’s one right way. Otherwise we would have probably had that conversation, and we would have just wrapped up shop.”

Krikorian and Carney go into every interview with a few ideas of what they want to talk about from background reading and film study, but their ability to listen and ask insightful follow-up questions carries the conversation and sometimes leads them down a rabbit hole.

“That’s our favorite part of the podcast is when it goes someplace we didn’t even expect,” Krikorian said.

They often get coaches into uncharted territory during their regular segment called “Start, Sub, Sit,” a basketball-centric variation on a common forced-choice game. When Stevens joined the show, they asked him which of three Ted Lasso quotes he would start, sub and sit. (Stevens’ Start: “You know what the happiest animal on earth is? It’s a goldfish. You know why? It’s got a 10-second memory. Be a goldfish” — because you should never worry about what someone says about you or worry about missing a shot. “I love that,” Stevens said, “Let it go. Have shot amnesia.”)

Everything always comes back to the game, never going on a tangent that wouldn’t be applicable to coaching.

Advertisement

“We know the coach has 45 minutes to get on the treadmill, or they’re commuting for 40 minutes to work,” Krikorian says. “We don’t want to waste one second of their time with something that’s not valuable.”



Kirkorian (left) was named the head coach at his alma mater in August. (Alex Vazquez for Chapman University)

Relationships with coaches like Van Gundy have helped Krikorian and Carney land some of their most well-known guests, but what brings them the most pride is that the show’s downloads and listens no longer depend as heavily on name recognition. And they’ve been able to give some talented but lesser-known coaches a platform to share their knowledge and ideas.

“If you think about it, like the best players, they progress. They find a level. That’s not always true in coaches,” Van Gundy said. “Some do. And some, either by choice or by just lack of opportunity, don’t. But I think too many fans think the best coaches rise just like the players do. Not true.”

Krikorian and Carney have created a nice side hustle. Their podcast has multiple sponsors, and they average 30,000 to 40,000 downloads per month. Their newsletter has over 7,000 subscribers, with close to 1,000 of those paying for their premium content.

While their content is consumable for anyone who loves the game — not just coaches — it’s a niche audience. But the goal was never to become famous; it was to become better coaches.

Advertisement

“With coaching, you have to be proficient,” Carney says. “You have to know yourself. You have to work hard. But a lot of it is relationships, too, and this has allowed us to build genuine relationships and continue conversations past the podcast that have directly impacted our careers.”

During the interview for this story, Carney was in Poland with the German under-20 national team. The head coach of that team, Martin Schiller, was a guest in 2022 and kept in touch with Carney, eventually reaching out to ask Carney to join his staff this summer.

Krikorian says he’d be lying if he didn’t think about one day coaching at a higher level than D-III, but he’s living a pretty good life now as the head coach of his alma mater, in the backyard of where he grew up, building a sustainable business that was born from a whim during the pandemic.

“The people that I’m able to call for advice now,” Krikorian says. “It’s a dream of ours, honestly.”

ESPN analyst Fran Fraschilla, a fan and two-time guest, says what the Slappin’ Glass guys have done reminds him of an era long ago when coaches like Hubie Brown and Dean Smith went overseas to teach the game.

Advertisement

“What’s happened over two generations or three generations is the world is now teaching the game of basketball back to us,” Fraschilla says. “Slappin’ Glass has provided an incredible menu of international basketball ideas. They are the conduit for great basketball coaching information.”

(Top illustration photos courtesy of Alex Vasquez and @ralf.zimmermann.fotografie)

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

Trending