Culture
Joel Embiid’s return gives Sixers hope again — but they’ve heard this song before
PHILADELPHIA — Not much changed in the ending.
The Philadelphia 76ers walked off their home floor again, with a bevy of New York fans again chanting “Let’s Go Knicks,” after another road win by Tom Thibodeau and company in the City of Brotherly Love. This time, Karl-Anthony Towns got the walk-off love as he left the court at Wells Fargo Center with his dad in tow, quickly followed by Josh Hart and Miles McBride.
Joel Embiid and his Sixers had long since left the floor.
Their season, already off to such a horrendous start, filled with injuries and doubts and an awful moment of confrontation, continued its spiral Tuesday in a 111-99 loss to the Knicks, dropping Philly to 2-8. But this is where Philadelphia hopes things bottom out.
Well, maybe that comes Wednesday, when the undefeated Cleveland Cavaliers play here.
For now, all the Sixers have to comfort themselves was Embiid’s return to action Tuesday after he missed the first six games of the season while continuing to rehab his left knee, followed by a three-game suspension levied by the NBA after Embiid shoved a Philadelphia Inquirer columnist during a postgame incident Nov. 2. The columnist had written several incendiary opinion pieces about Embiid’s conditioning but also referenced Embiid’s late brother Arthur and Embiid’s son, also named Arthur, in an Oct. 23 column. That set off the 30-year-old Embiid.
Tuesday, Embiid was far from his dominant self. He was rusty, finishing just 2-of-11 from the floor, scoring 13 points in 26 minutes. His old, and perhaps now former nemesis, Towns, had the upper hand all night, finishing with 21 points and 13 rebounds. Towns finished the game for New York, while Embiid sat the last few minutes to keep him from racking up more than the 25 to 30 minutes the Sixers had plotted for him pregame.
“You can do whatever you want in practice and scrimmage, but the game is a different story,” Embiid said afterward. “I’ll be fine.”
His words, a franchise’s worries.
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Embiid hasn’t been fine most springs, when championships are decided, after suffering injuries late in the regular season or in the playoffs. Last year, he missed two months with a meniscus injury in his left knee, then suffered a bout of Bell’s palsy during Philadelphia’s series loss to the Knicks. So the Sixers and their superstar agreed this season he’d be held out of a bunch of regular-season games to give him the best chance of getting to April and May healthy. The organization’s misrepresenting statements cost the Sixers $100,000, but one doubts they cared much. Embiid says playing is up to him, but of course, it isn’t, not really.
Yes, Embiid played for Team USA in the Olympics, including a huge game against Nikola Jokić and Serbia in the semifinals, showing up when the United States needed him most. But that stint was two-plus months before the start of training camp, and the time off showed.
Against New York on Tuesday, he missed his first five shots from the floor, not scoring a field goal until he hit a 3-pointer with nine minutes left in the third. Embiid, as ever, got to the line, making 8 of 8 free throws in the first half. But Embiid was noticeably lagging throughout the second half. He was pulling on his shorts after his first stint of the second half. And though he asked the crowd to rise up late in the third quarter, he couldn’t lift up Philly in the fourth, as New York pulled away.
“When he’s playing well, he’s kind of got command of the game at the offensive end,” Sixers coach Nick Nurse said afterward. “He’s either creating good shots for himself or creating a lot of defensive schemes against him, which is creating much easier shots for our guys. That’s part of rhythm, that’s part of conditioning, all that kind of stuff. He’s a great shooter. That’ll come back, too, I think.”
The Sixers now have to hot-wire their hopes of finding continuity with yet another new core group.
Paul George, the premier free-agent acquisition of the offseason, is just coming back himself from a preseason bone bruise that cost him the first five games of the season. He looked great Tuesday, though, looking exactly like the silky smooth scorer and facilitator the Sixers hope he can be, finishing with a game-high 29 points. But guard Tyrese Maxey, who took such a big step last season playing alongside Embiid, missed his third straight game with a pulled hamstring. It doesn’t leave Nurse a lot of time to evaluate who plays best with whom.
For example: Philly brought in Guerschon Yabusele, who starred on the French national team in the Olympics, helping lead Les Bleus to a silver medal. He was sensational. The Sixers hoped he could play for them in small-ball units at center. And with Embiid out, they got a good long look at him. Through the first nine games, he shot better than 43 percent on 3s on decent volume. Now, though, Nurse will have to play Yabusele and Embiid together, with Yabusele playing more power forward. The shots are different. The rhythm is different. Whom Yabusele now guards at the other end is different.
Nurse got exactly what he wanted to see late in the first quarter, when Embiid returned after a few minutes on the bench, drew two Knicks to him at the top of the key and fed an open Yabusele on the wing for a 3. But that was the only shot Yabusele hit all night in seven attempts.
Still, it’s crystal clear how formidable the Sixers can be when Embiid gets back to his old self, flanked by a healthy George and Maxey; solid role players such as Kelly Oubre Jr., Yabusele, Caleb Martin; rookie Jared McCain, who’s utterly fearless; and vet stashes such as Reggie Jackson, Kyle Lowry and Andre Drummond. Philadelphia’s offensive potential is staggering once everyone is healthy, so the Sixers are doubly fortunate their awful start hasn’t buried their playoff chances in the less-than-fully-functional Eastern Conference; the Sixers entered play Tuesday just a game out of the Play-In round.
George knows the pressure Embiid is under. He was a franchise player for the Indiana Pacers and Oklahoma City Thunder, and then a co-franchisee with the LA Clippers alongside Kawhi Leonard. That weight of being the man feels like you’re wearing a burlap jersey and concrete Nikes.
“I think it’s no pressure for him,” George said. “He is the piece. He is The Process. I think he just finds his way, as he should. We’re here to kind of keep things going afloat until he gets back to himself. But I don’t think there’s pressure for him to do anything extra. He’ll find his rhythm as the games go on, as we learn how to play off of him and play around him. I’ve seen it in practice, so I know he’s not too far off.”
I asked Embiid if the urgency of the 2-8 start, and the ticking down of his prime years, is pushing him to come back sooner rather than working through the regular season more slowly, as had been the long-term plan. He recalled his rookie season, after he’d missed two years rehabbing following multiple foot surgeries. Embiid roared out of the gate, finishing third in Rookie of the Year voting — even though the Sixers held him out of all but one game of the second half of the season.
“We were still really competitive,” he said of what became a 28-54 season. “And even that year, if they would have let me finish the year, I thought we actually had a chance of making the playoffs. So, urgency, sure. But you’ve also got to understand, we haven’t been healthy. Everybody’s getting back. Like I said, based on how it’s gone the last couple of years, with us on the floor (together), I think we’ve got a pretty good chance.”
“Things fall apart; the centre cannot hold,” William Butler Yeats wrote a century ago, about something else entirely. But it’s up to Embiid to make sure people here don’t start seeing a connection.
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(Photo: David Dow / NBAE via 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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