Culture
Lewis Hamilton’s first week at Ferrari: Louboutin boots, a dream fulfilled and a proud mom
“This is the one!”
Lewis Hamilton could not hide his excitement as he walked among the road cars in the ‘heritage section’ of Ferrari’s headquarters in Maranello, Italy.
As he spotted a bright red Ferrari F40, one of the rarest of the manufacturer’s road cars, in the middle of the floor, he paused. Spreading his hands across the rear spoiler, a smile engulfed his face. He’d found his favorite.
It was this kind of wonder that Hamilton, a seven-time world champion who has seen and won it all in Formula One, sought when he decided to move to Ferrari. For all the success he enjoyed with Mercedes, nothing could match the history and the magic of F1’s most iconic team.
The moment he had dreamed about since childhood, becoming a Ferrari driver, had finally arrived.
Day one at Maranello had been almost a year in the making for Hamilton. Since announcing his shock decision to quit Mercedes after 12 seasons, he endured a difficult and, by his own admission, occasionally awkward final year. Closing that chapter in Abu Dhabi may have been emotional, yet Hamilton knew it was giving way to something new and exciting.
To mark the start of this era, uniting F1’s most successful driver and most successful team, every detail had to be meticulously planned. Ferrari F1 team principal Fred Vasseur was reluctant to have a big presentation or media event, not wishing to add any extra work or distraction to the team’s plate amid its preparations for the new season.
But it had to make Hamilton’s first week at Maranello memorable.
The F40 housed in the ‘old’ side of Ferrari’s factory — the headquarters is split between the historic part of the facility, noted by its yellow buildings and walls, and the ‘new’ side that is red — was wheeled through the Italian drizzle to the Piazza Michael Schumacher, named after the great who won five of his seven F1 titles for Ferrari. On it stands the house of Enzo Ferrari, the founder of the legendary manufacturer who had watched many legends sample his red cars from the window. History resides wherever you turn at Maranello.
Hamilton met with Vasseur and Ferrari CEO Benedetto Vigna before posing for photos outside the house next to the F40. Even Hamilton’s outfit for the day had been carefully planned by his stylist, Eric McNeal, right down to his red-soled Louboutin boots. The first official pictures of Lewis Hamilton, Ferrari F1 driver, quickly went viral and became the most-liked photo on F1’s Instagram page in less than 24 hours, as well as gracing all the front pages of the Italian sports newspapers the next morning.
Hamilton’s arrival photo went viral and made headlines around the world — especially in Italy. (Clive Rose / Getty Images)
Hamilton also made time to visit the fans, Ferrari’s loyal tifosi, who had congregated outside the factory gates at Maranello since the early morning hours, desperate to glimpse their new hero on his first day.
While at McLaren and Mercedes, Hamilton struck a strong bond with his fans (known as ‘Team LH’) and wants to rekindle that kind of relationship at Ferrari.
“I don’t know really what to expect, but I’m really looking forward to connecting with that community,” Hamilton said in a press conference last August. Taking a few minutes with fans to pose for pictures and offer signatures as they chanted his name was a good first gesture. It created a bystander out of Ferrari president John Elkann, one of the key brokers in signing Hamilton and perhaps the most powerful figure at Ferrari.
A lot rests on 2025 for both Ferrari and Hamilton. Ferrari missed out on its first constructors’ championship since 2008 by just 14 points, while Hamilton is still searching for a record-breaking eighth world title. His struggles with the Mercedes car through 2024 made for a season of lagging behind teammate George Russell. Shaking off that funk and proving he still has the edge that once made him near-impossible to beat at the peak of his powers in F1 is a critical part of this move.
It made Hamilton’s time getting to know his new colleagues through a factory tour and subsequent meetings on Monday and Tuesday vitally important. Hamilton always took strength from the closeness of his relationships with his teammates at Mercedes, particularly with his race engineer, Peter Bonnington, who he likened to a brother. Taking over that role will be Riccardo Adami, who was the engineer for Carlos Sainz (the Spaniard affectionately nicknamed Adami ‘Ricky’) as well as four-time world champion Sebastian Vettel, and will now be the voice on the end of the radio to Hamilton through races.
Hamilton suiting up for his first test at Fiorano. (Ferrari)
Ferrari planned Hamilton’s first on-track outing behind the wheel of its 2023 car for Wednesday at its private test track, Fiorano, which is adjacent to the factory. But it was always weather-dependent, making it hard to predict in the depths of January in northern Italy.
Preparations through Monday and Tuesday included a seat fitting and sampling Ferrari’s simulator, giving Hamilton a chance to feel, at least virtually, how his new car would perform. One of his great struggles through 2024 was feeling confident and balanced with the car, particularly under braking with his late, aggressive style. Over a single lap, Hamilton often failed to get the most out of the car. The simulator will have at least given a first read of what he can expect from the Ferrari this year, even if nothing compares to the real thing.
Hamilton’s new race helmet design for this year returns to the yellow he first used as a child in go-karts to allow his father, Anthony, to easily spot him on the track. Shots of the helmet, as well as Hamilton posing in the classic red Ferrari race suit for the first time, were shared with the world, building up excitement before his first on-track running. All that was required was for the weather to play ball.
Driving a two-year-old F1 car on a misty, cold day around a short test circuit may not have the hallmarks of a special moment, but for Hamilton, this was a day he had dreamt of since playing as Michael Schumacher on video games as a teenager, wondering what it might be like to be in the cockpit of the red car someday.
Just as it was for Schumacher at Fiorano at the end of 1995 ahead of his move to Ferrari for the following season, Hamilton’s maiden outing was both understated and poignant. After changing into his new red race suit in Enzo Ferrari’s house, Hamilton walked over to the simple garage setup next to the track, no bigger than a gas station forecourt (and branded like one, thanks to team partner Shell) and was greeted by his team. As the engineers ran through the processes, Hamilton scribbled down things to remember into a small notebook.
Hamilton and Ferrari’s crew hit the ground running this week (Ferrari)
There were a number of new faces in Ferrari gear for Hamilton to get to know, but a few watched on with added fondness, including dad Anthony. Vasseur had worked with Hamilton in junior categories and they always remained friendly, paving the way for their reunion almost 20 years later. Jerome d’Ambrosio, the deputy team principal, and Loic Serra, the chassis technical director, both worked at Mercedes when Hamilton was there.
But maybe the most essential and surprising returnee was Angela Cullen, Hamilton’s former trainer and performance coach.
Hamilton and Cullen worked together for seven years before suddenly splitting just two races into the 2023 season. Cullen had been a core part of Hamilton’s inner circle, overseeing his physical preparations and helping him ahead of races. She spent last year working in IndyCar but is now back with Hamilton’s team after signing with Project 44, his management company that looks after his business interests. Her return is important for Hamilton, who will take comfort in having some familiarity during the big adjustment that comes with joining a new team.
At 9:16 a.m., Hamilton peeled out of the garage and onto the track. At last, he was a Ferrari F1 driver. Fans and TV cameras had gathered at a couple of vantage points overlooking Fiorano to catch a glimpse of the famous #44 emblazoned on the Ferrari, including one on a bridge next to a busy road. No length is too great for the tifosi.
Testing an old car would not have given Hamilton much in terms of accurate readings of how the new season may go, yet it at least offered the chance to adjust to Ferrari’s way of working. The SF-23 car, the only non-Red Bull winner of 2023, offered a first understanding of the power delivery of the Ferrari engine and the functions of the steering wheel, both of which will differ from what he was used to at Mercedes.
Hamilton only managed 30 laps through a handful of runs in the morning, completing an installation run on wet tires before switching to slicks, and there were images of him locking up at points, yet it was never about outright pace or performance. The race drivers are limited to 1,000km of private test running in old cars through the year, meaning Hamilton’s 89km run, followed by teammate Charles Leclerc’s 42km run in the afternoon, leaves plenty of room for more ahead of the new season. A further outing is planned for Hamilton in Barcelona in the coming weeks before his first run in the 2025 car on February 19 at Fiorano, one day after the F1 season launch event at The O2 in London.
Neither the limited running nor the weather would stop his Ferrari debut from being, to quote Hamilton, “one of the best feelings of my life.”
Once his run was complete, he was taken in a black Alfa Romeo road car to get out and wave at the dozens of fans who stood behind one of the fences. His mother, Carmen, stood taking photos on her phone. Watching her son in Ferrari red for the first time, she drank in the moment. Hamilton could not help but break into a smile at the chants of, “Olé!, olé, olé, olé! Lewis, Lewis!” that greeted him. The tifosi have already warmed to Hamilton, instantly becoming their new hero.
“I already knew from the outside how passionate the Ferrari family is, from everyone in the team to the tifosi,” Hamilton said. “To now witness it firsthand as a Ferrari driver has been awe-inspiring. That passion runs through their veins and you can’t help but be energized by it.”
Ferrari perfectly balanced making Hamilton’s arrival a ‘moment’ without detracting from the focus, which must be on its performance. It knows how important this year will be coming off the back of a 2024 season that will go down as a near-miss but also a big swell in momentum that has ignited hopes just at the right time. As much as this week featured public nods to the new beginning, the behind-the-scenes work and adjustment was what really mattered to Hamilton.
It is a week that will have rekindled a lot of Hamilton’s love and passion for F1. As committed as he was to the Mercedes project, even through the toughest of times, the on-track difficulties caused that flame to flicker.
This change to a new, ambitious project, one which carries the weight of an expectant fanbase, a nation’s sporting pride and the history of those who’ve come and succeeded before in Ferrari red is precisely what Hamilton needed.
Now, it’s about working hard to make the adjustment as smooth as possible, before his full debut in Australia on March 16 truly begins his Ferrari era.
Top photo: Clive Rose, Alessandro Bremec via Getty Images; Design: Will Tullos/The Athletic
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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