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Jurgen Klopp’s move to Red Bull seems surprising but it shouldn’t be

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Jurgen Klopp’s move to Red Bull seems surprising but it shouldn’t be

As Liverpool’s manager, Jurgen Klopp did not like long meetings. Rather than sitting around, poring over the latest big decision, he would regularly have important conversations in the canteen of the training ground while eating his lunch. 

Klopp was anything but formal, yet Mike Gordon — the president of Liverpool’s owner, Fenway Sports Group, a man who also operates with the sort of casual confidence you normally get from a dot com entrepreneur — placed the German on the same level as a corporate leader. He was, according to Gordon, “someone you would choose to run your company”, as he told Raphael Honigstein in his book, Bring the Noise.

Klopp’s new role as Red Bull’s global head of soccer, which he starts at the beginning of next year, potentially offers that kind of overarching responsibility. As a statement from Red Bull explained, the day-to-day running of the five clubs it owns, sponsors or has a minority stake in will not concern him but he will be helping sporting directors, scouting departments and coaches, ensuring Red Bull’s “philosophy” runs through each of its interests.

The decision, which arrived suddenly — nine years and a day since his arrival at Liverpool — might, on the face of it, be surprising, given how drained Klopp seemed when he departed Anfield in May. Back then, he said he had run out of energy and needed a total rest from football management.


Jurgen Klopp is given a guard of honour after his last match with Liverpool (Clive Brunskill/Getty Images)

He had left Borussia Dortmund with a similar message at the end of the 2014-15 season, before quickly landing on Merseyside after a summer largely spent playing tennis.

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Klopp finds it hard to sit still for any length of time, but his new job at Red Bull invites a slower and less stressful route back into the game he loves — and, in all likelihood, a precursor to the German national team job he has long coveted, given that reports in the country suggest a get-out clause exists in his contract.

Gordon’s comments about Klopp’s capabilities were made in 2017 and in the years that followed, as Liverpool became more and more successful, his power grew. With that, the support network that had also contributed to Liverpool’s rise was dismantled. Klopp was not running Liverpool because the most important financial decisions were still made by Gordon, yet he was the public face of a multi-national company, and the football department became his. It explains why Liverpool now employs a head coach rather than a manager and the club’s sporting director leads strategic and staffing decisions. It would be good to hear from Klopp on whether he thinks taking on too much contributed to his burnout. 

Perhaps the Red Bull gig gives him the opportunity to understand a world he is curious about. Last year, there was some talk of him enrolling on a sporting directorship course, something his representatives did not confirm or deny. Unlike at Liverpool, he will be able to do his job without the pressures of preparing a team, matches, and press conferences. In an Instagram post on Tuesday, he indicated that this treadmill had stopped him from learning as much as he would like. From here, if he ends up taking charge of Germany, he will surely understand better the responsibilities that come with different stations of leadership.

Klopp is not the first former Liverpool manager to take on this particular title at Red Bull. In 2012, after Gerard Houllier was forced into retirement due to deteriorating health, he met with the founder of the company, Dietrich Mateschitz, who turned up for a meeting in Austria on a motorbike, wearing jeans.

Quite how influential Houllier became depends on the impression of who you speak to. While he would later claim that he played a leading role in the organisation’s attempt to bring Sadio Mane into its fold from Metz in 2012, those closer to its running suggest his responsibilities were closer to that of an ambassador: turning up in various countries, shaking hands with partners, and occasionally whispering advice.

Will Klopp’s duties even be as all-encompassing as they might sound? He is certainly useful for Red Bull’s brand, one which has needed a touch of legitimacy ever since it started investing in football in 2005.

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Houllier was eight years out of Liverpool by the point his involvement started, while the Red Bull group had not yet produced a team talented enough to qualify for the group stage of the Champions League. Though its club in Leipzig has since made it through to that round of the competition in seven of the last eight seasons, the tale of a team rising up from the regional divisions has not exactly been met with encouragement in Germany, where the rules lean in favour of fan representation and significant outside investment is treated with suspicion. 


Dortmund fans protest before a game against RB Leipzig in 2017 (TF-Images/TF-Images via Getty Images)

At Dortmund and Liverpool, Klopp harnessed the authenticity of each club’s following, occasionally taking sideswipes at the artificial elements of rivals and other places. Had he been in charge of Dortmund in 2016 when they faced a recently promoted RB Leipzig in the Bundesliga for the first time, it would have been interesting to hear his thoughts on the actions of the Dortmund supporters who boycotted the fixture in protest at their opponents’ ownership model.

“Dortmund makes money, but we do it to play football,” said Jan-Henrik Gruszecki, one of the protest’s organisers, told The Guardian. “But Leipzig plays football to sell a product and a lifestyle. That’s the difference.”

Klopp, therefore, may have chipped his reputation by aligning himself with the fizzy drinks manufacturer — the antithesis of what he once represented. Perhaps this will be determined, particularly in Germany, by how visible he is while on Red Bull duty. 


Klopp will be removed from day-to-day coaching at Red Bull (Alexander Hassenstein/Getty Images)

Back in England, the company has a minority stake in Leeds United, having taken over as the club’s shirt sponsor. “The ambition to bring Leeds United back to the Premier League and establish themselves in the best football league in the world fits very well with Red Bull,” said Oliver Mintzlaff in May. Mintzlaff, Red Bull’s corporate projects CEO, played a significant role in Klopp’s appointment.

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Klopp suggested on his exit from Liverpool in the same month that he would never manage another Premier League club. But it is not too hard to imagine Leeds back in the top flight soon, and if that happens — and Red Bull lends its technical support, as expected — it will be fascinating to see where Klopp, if he remains in the position, fits in. Might he end up helping plot, even in some small way, Liverpool’s downfall come matchday?

go-deeper

GO DEEPER

Marathe exclusive: ‘This club will not become Leeds Red Bulls – they understand that’

Immediately, many have chortled at the suggestion that one of his first tasks might involve the sacking of Pep Lijnders, his former assistant at Liverpool, whose Red Bull Salzburg team were thrashed by Brest and Sturm Graz in successive games last week.

There is no plan to remove the Dutch coach, but Klopp does not begin with Red Bull officially until January. Given how close they were at Liverpool, with Lijnders entrusted to lead training sessions, it seems unthinkable that Klopp, if asked, would suggest making a change. Instead, surely Klopp’s arrival at the Red Bull stable increases the chances of him surviving.

For the time being, Klopp is removed from the grind of the daily management, with this role seeming to strike a neat balance of involvement at the elite end through a new challenge, but without the pressure, and scrutiny, that comes from being a manager. Whether Klopp can resist the buzz of the latter in the long term remains to be seen. 

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(Top photos: Getty Images)

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

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Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

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But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

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It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

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and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

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So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

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I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

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Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

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We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

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did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

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“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

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I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

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and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

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When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

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And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

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It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

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Do You Know the Comics That Inspired These TV Adventures?

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Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

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Video: Our Spring Book Recommendations

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Video: Our Spring Book Recommendations

new video loaded: Our Spring Book Recommendations

A few editors from the New York Times’s Book Review give their recommendations for what new releases you should be reading this spring.

By Jennifer Harlan, MJ Franklin, Joumana Khatib, Edward Vega and Laura Salaberry

March 19, 2026

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