Culture
Ilona Maher sprinkles her stardust on England – U.S. rugby icon’s new team has had to find a bigger home stadium
Asked if she felt tired after spending over an hour posing for pictures with hundreds of fans, Ilona Maher channels Taylor Swift with her answer.
“I do get tired a lot but, as Taylor Swift said, ‘I get tired a lot but I don’t get tired of it’.”
The ‘it’ the 28-year-old rugby union player from Burlington, Vermont is referring to is the fanfare which follows her every move.
Fresh from making her 20-minute debut for Bristol Bears, the English team she has joined on a three-month contract, Maher had to tackle a queue of photo-seekers more than 250 yards long — taking up three sides of the pitch. Some had travelled across the Atlantic from Washington, D.C. to see a player who now transcends her sport. A 2024 Olympic bronze medallist who last year also featured on the cover of Sports Illustrated’s swimsuit edition and was named on Forbes’ 30 Under 30 list, Maher’s fame continues to snowball.
There weren’t any expectations placed on Maher to spend time with what seemed like every fan who attended her Bristol debut, but she did. “I saw the line of people staying out there and I was like, ‘I’m going to try to take as many photos as I can’,” she told reporters.
With eight million-plus followers across Instagram and TikTok combined, Maher is the most-followed rugby player in the world. She took followers behind the scenes at the previous Olympics in Japan in 2021, when fans were barred from attending due to ongoing pandemic-related regulations and has a sense of humour that would not go amiss in some Saturday Night Live sketches. Mix that with a back catalogue of empowering, body-confident video messages, and she has a global audience of supporters, many of whom are young women and girls.
Maher came on as a second-half replacement for Bristol Bears on Sunday (Dan Mullan/Getty Images)
Over 9,000 were in attendance for Maher’s debut in Bristol, a city in the west of England, just over 100 miles from London, known, among other things, for being the birthplace of street artist Banksy. And just as when one of the anonymous political activist’s latest works pops up to huge publicity, Maher demands the same level of excitement in whatever she does.
Within 72 hours of her move to England being announced, Sunday’s game against local rivals Gloucester-Hartpury was moved from Shaftesbury Park (the 2,000-capacity venue where the team usually play) to Ashton Gate, the 27,000-seater stadium which is home to Bristol City’s men’s and women’s soccer teams, as well as the Bears’ men’s rugby side.
At that point, there was no guarantee Maher, whose every move is being followed by documentary filmmakers from Hello Sunshine (a production company founded by actor Reese Witherspoon that focuses on telling women’s stories), would even feature in the match after she was named as a replacement on the team sheet 48 hours before kick-off. Yet, the team’s attendance record of 4,101, set in 2022, was smashed. For a standalone game in Premiership Women’s Rugby (PWR), there has been no bigger crowd.
Rose Kooper-Johnson is a fellow New Englander, from Rhode Island, and has been living in the UK for the past six years. The 29-year-old works at the Bristol-based University of the West of England in student communications and had never watched rugby live before Sunday.
“Hearing she was coming to Bristol was really exciting,” Kooper-Johnson tells The Athletic. “She has been on Dancing with the Stars (Maher finished as runner-up in that show in November) and she’s just so cool and inspiring. If she can be a catalyst for getting more people into women’s sports, then that’s amazing. She has that ability to bring people together.”
Maher takes a selfie with fans after making her debut for Bristol Bears (Dan Mullan/Getty Images)
Maher’s arrival in England was always going to be impactful.
Having helped the United States’ rugby union sevens women’s team dramatically win Olympic bronze on the game’s final play in Paris last summer, she has timed her move to the sport’s 15-a-side format, where the matches last over four times longer (80 minutes to 14), feature twice as many players on the pitch and games are generally more attritional, to perfection. This is a World Cup year and Maher is eyeing a place on the USA roster. The tournament kicks off with host nation England taking on the Americans on August 22.
Friends Lucy Parkinson, Elvira Berninger, Abby Bevan and Maria East had travelled 130 miles from Bournemouth on the English south coast for Sunday’s have-to-be-there moment. Rugby union team-mates for Ellingham & Ringwood RFC, they usually only attend international women’s fixtures.
“We love all the other players but she (Maher) was the instigator. We were 50/50, like, ‘Do we come just because of the Ilona Maher effect? Yeah, let’s enjoy the hype’,” Bevan tells The Athletic, while East added that the attention on Maher “can only be a good thing for rugby”.
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Chloe and Luke Glover are season-ticket holders for the Bears’ men’s team, so are regulars at Ashton Gate, but the couple had never watched a women’s game before being drawn in by ‘Maher fever’. “She has brought quite a lot of attention to it so we thought we would come and see what it is all about,” Luke says.
Queuing up near food trucks selling churros and barbecued pulled pork are Cathy and her 16-year-old daughter Jasmine, who herself plays rugby union. “She (Maher) has had a big impact on a lot of young girls starting and getting into the sport in general. It has been a big topic, Ilona joining,” Jasmine says. “There are a lot more people looking for teams to join around Bristol, and with her joining a lot more people have even just come here… It was a lot harder to get tickets this time.”
Dings Crusaders under-14s girls’ team did not need to worry about getting tickets, as many of their players were employed to retrieve any loose balls during Sunday’s match. Nellie MacDonald, 12, plays for Dings and feels Maher had made “a massive change to everything already”, and her mum, Sam, agrees, saying, “The amount of people that are here, you can already see it is bigger than before.”
Maher speaks with TNT Sports presenter Jenny Drummond after the match (Dan Mullan/Getty Images)
The game was shown live on TNT Sports in the UK, and the league shared a pre-match social media post detailing its kick-off time in various time zones.
Whenever Maher’s face was beamed onto the stadium’s big screen, huge cheers erupted from the thousands gathered in the Dolman Stand and South Stand. The decibels rose when her name was read out before kick-off and, again, when she came on as a replacement during the second half.
Playing on the wing and wearing knee pads and her now-iconic matte red lipstick, Maher burst into a nerve-calming tackle within seconds. The American likes to run with ball in hand, but Gloucester-Hartpury turned up the heat and gave the home side little room to manoeuvre in a match the visitors won 40-17, scoring six tries in total.
Though Maher failed to get a touch of the ball during her time in the game, her introduction lifted the crowd and the team — Bristol scored their third and final try four minutes after she was introduced.
Finally, an hour and 11 minutes after first beginning her lap of fan selfies following the final whistle, Maher sat down for her own post-match press conference.
“I just try to be as equal as possible, because they’re going to do so much for me as maybe I’m doing for them,” Maher said. “They bought a seat and that seat is going to lead to hopefully some more seats. Fans are the revenue we need to bring in to make this league bigger. So it’s almost, I feel, like my duty. They’re doing so much so I want to do more for them.
“Some people came from America. I had some people say they came to this game from Washington, D.C. to watch… I put those (social media) videos out there for them. I want them to feel confident and love themselves and play the sport and understand what the body is capable of. It’s always just really cool that they’re out there and they stay out there.”
Maher, humble yet radiating confidence, takes ownership of the empire she has created, something she has achieved without necessarily being the best player in women’s rugby.
“It’s cool to be the face of a sport that isn’t thought of as a women’s sport,” she said. “It’s a men’s sport. So to be the face of it and also the impact I’m having is felt across both men’s and women’s (rugby), I’ve had some of the best men’s players in the world be like, ‘Keep doing what you’re doing’ because I think everyone sees value in it. And if one rises, we all rise.
“I’m really proud of what I’ve done and the impact I’ve had on social media, not just in a rugby sense, in a body-positivity sense, the way people are treating themselves. So I’m proud. I think my family is 10-times prouder,” Maher added, with her sister, Olivia, who has moved to England with her, smiling from the back of the room. “And I love what I’m doing.”
Millions of people do.
(Top photo: Dan Mullan/Getty Images)
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.
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.
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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