Connect with us

Culture

Matt Cooke, once one of the NHL's most-hated players, is charting a new path

Published

on

Matt Cooke, once one of the NHL's most-hated players, is charting a new path

ST. JOHN’S, Newfoundland — The morning fog grows so thick outside Mary Brown’s Centre that South Side Hills, an imposing rock outcropping standing between St. John’s and the rough waters of the north Atlantic Ocean, isn’t visible a few hundred meters away.

Inside the empty arena, the only voice is not loud but still penetrating.

A coach is standing in the middle of a group of professional hockey players. He turns his head side-to-side, looking for recognition, any sign of life.

“Whatever the f— is up,” he barks at players kneeling before him, “make sure you’re ready to go tonight.” After that, he turns and leaves the morning skate hours before a game.

The coach is Matt Cooke. He is wearing a beige ball cap and he’s added a few pounds from his own playing days. But he hasn’t lost any of the energy of his 16-season NHL career. He’s the same Matt Cooke who would rise to the top of the list of most reviled NHL players of the past two decades.

Advertisement

His unprovoked open-ice shoulder check on Marc Savard in March 2010 is still one of the most universally condemned hits in modern NHL history. It left the Boston Bruins forward with a concussion, contributed to the end of his career and led to a change in the NHL rules meant to deter blindside hits.

A year later, Cooke was suspended for 17 games for a punishing elbow to the head of New York Rangers defenseman Ryan McDonagh.

Cooke also lacerated Erik Karlsson’s Achilles’ tendon when his skate came down on the NHL All-Star’s left leg during a board battle. The questions about whether Cooke was a hard-nosed player gave way to questions about whether he was a malicious one.

Then-Ottawa Senators owner Eugene Melnyk echoed many in the hockey world when he labeled Cooke a “goon” who “should never be playing in this league.”

Cooke’s final suspension was seven games for a knee-on-knee hit on Colorado Avalanche defenseman Tyson Barrie in the 2014 playoffs.

Advertisement

Many believed he was incapable of changing. When his career ended a year later, any player looking to skate through the middle of the ice untouched breathed a sigh of relief.

But now he’s a rookie head coach of the Newfoundland Growlers, the ECHL affiliate of the Toronto Maple Leafs. A leader of young men. The shaper of young hockey minds.

For those who remember Matt Cooke on the ice, it might be a chilling thought.

“Matt Cooke the person has always been different from Matt Cooke the player,” he says.


The first hint of Cooke’s future came when he was just a 5-foot-1 13-year-old playing minor hockey for the Quinte Red Devils, in Belleville, Ont. Physical play was ingrained in his game in the early 1990s, but he was never taught what that should look like.

Advertisement

“My first game, I’m scared. I’m flying on my knees trying to cannonball guys because I’m scared,” Cooke says. “I was taught to give the biggest hit possible. But I never intentionally tried to hurt anybody, ever.”

Just like many of the players he now coaches, Cooke was overlooked. He was not picked in the 1996 NHL Draft.

But he was tenacious. He refused to accept his fate. As an undrafted 18-year-old, he attended Toronto Maple Leafs training camp on a professional tryout and earned a contract. He impressed the Leafs coaching staff with his determined style of play and surprisingly strong set of hands.

An unfortunate clerical error meant his three-year contract offer with the Leafs wasn’t filed to the league office in time, forcing him to return to the OHL’s Windsor Spitfires. Armed with confidence from his tryout success, Cooke showed a new side to his game. After scoring just eight goals during his draft year, he led his Spitfires team with 45 goals.

“I was always undersized, not fast enough, not skilled enough,” Cooke says proudly. “And I beat the odds.”

Advertisement

At the 1997 draft, he wasn’t forgotten. The Vancouver Canucks picked him in the sixth round, 144th. He had a nine-season stint with the Canucks before moving to the Penguins, developing into not just a reliable goal scorer but a gregarious teammate. Coaches could not escape special teams meetings without being peppered with questions from Cooke.

“He was not a guy who was quiet in the room,” Cooke’s former teammate Tyler Kennedy says.

But even with his ability to find the back of the net, Cooke made his name turning the middle of the ice into a hazardous place for the opposition.

That’s when the harmful hits piled up.

In the aftermath of his headshot on Savard, as the hate toward him swelled, he realized he needed to change.

Advertisement

Kennedy noticed his once-chatty teammate growing reticent. “When you hurt someone, no matter who you are, you think about it,” Kennedy says.

It led Cooke to then-Penguins bench boss Dan Bylsma. After the 2010-11 season, Bylsma took Cooke under his wing for repeated one-on-one video and on-ice sessions.

“It was a point of reflection about his career, who he was as a player and how he was perceived,” Bylsma says. “He had a desire to change that.”

Cooke says if he could, one thing he’d change is that March 7, 2010, hit on Savard.

“At the time, to survive in the game, I felt like Matt Cooke the player was the guy that made the middle of the ice harder for people to get to,” he says.

Advertisement

“Now there’s a specific rule in place that I would have been suspended for a lot of games for that hit. But at the time, legally within the game, I didn’t do anything wrong. I didn’t get a penalty and I wasn’t suspended. I hate the fact that Marc was hurt.”

When Savard returned to the ice, he sustained another concussion in a hit from Matt Hunwick on Jan. 23, 2011, ending his career.

Cooke has never spoken to Savard. He said he tried to get in touch for a month after the hit. “You can only get rejected so many times,” Cooke says softly.

Savard, now an assistant coach for the Calgary Flames, did not reply to a text message seeking comment.

For Cooke, it’s a part of his past.

Advertisement

“I haven’t thought about it in a long time,” he says. “Back then, I wanted to apologize. I wanted to tell him it wasn’t personal. It could have been Milan Lucic who crossed the middle. The play would have been the same.”


When his playing career ended after the 2014-15 season, Cooke ran a hockey academy in Minnesota and coached at two high schools. If Cooke’s players expected him to teach them how to deliver thunderous checks, they were disappointed.

“The reality is different from the perception (of Cooke),” Bylsma says.

Instead, he stressed how to compete relentlessly without hunting for heads.

Cooke would throw his old gear on and mingle with players on the ice. They might have complained he talked too much. But Cooke was undeterred. “Even though you don’t see it with your eyes, I want you to hear it with your ears, so you can be successful,’” Cooke would tell them.

Advertisement

His NHL experiences were only important if they were shared.

“Most people don’t know, but through the last six or seven years, Matt has been doing a lot of work with his coaching,” Bylsma says.

He also has stayed busy doing other things. Cooke paid for suites for underprivileged children to watch NHL games in multiple stops during his career. He traveled to war-torn Haiti to donate time and money to charities and help build orphanages. But none of that got him any closer to a return to the league. When he applied for dozens of professional coaching vacancies across North America, he felt like his legacy followed him.

“Not even a discussion with some teams,” Cooke says.

On a whim, he applied for the Toronto Marlies head coaching vacancy in the AHL this offseason. He shrugged when he learned the organization went with the uber-experienced John Gruden, fresh off an assistant coaching stop with the Bruins. But he was encouraged when he received a phone call from Marlies GM Ryan Hardy, who wondered if Cooke would be interested in the Growlers’ vacancy.

Advertisement

“We all had some sort of preconceived notion of how (Cooke) might be as a coach based on how he was as a player,” Hardy says. “We found him to be a really intelligent guy who had a passion for teaching. He was able to reflect on his experience as a player.”


The shoreline of St. John’s, Newfoundland. (Jeff Parsons / Special to The Athletic)

Cooke had never been to Newfoundland when he and his wife traveled east to begin his second act.

“We’ve always had resistance to live in the moment,” Cooke says. “In doing this, the two of us made the decision to be present more. I’ve put a lot of boots in the ground to earn respect.”

Cooke understands the ebbs and flows of a season in a place like Newfoundland can suck players of their mojo. The inexperienced professionals are mostly fresh out of college or junior hockey.

But the Leafs take the Growlers seriously. Leafs regular Bobby McMann, for example, developed in Newfoundland in 2021.

Advertisement

“There are guys on this team who will play in the NHL,” Cooke says. “It may take them three years, but they’ll play.”

The organization is trusting Cooke, 45, to teach players how to become professionals.

And he is learning how to do just that.

When Cooke has to halt a special-teams drill to tell his players to protect the middle of the ice, he is ultimately sniffing out a lack of effort. He believes his team is “going through the motions.”

“This is your practice for tonight’s game,” he warns them. “Don’t do it half-assed.”

Advertisement

That attitude and approach is what drove Cooke as a Stanley Cup winner with the Pittsburgh Penguins.

“(Cooke) earned my respect because he was always honest with his decisions,” Kennedy says. “Everyone he played with had his respect. He was the definition of a guy who everyone hated to play against but loved to play with.”



Matt Cooke is working to connect with his players, on the ice and off of it. (Jeff Parsons / Special to The Athletic)

Cooke is over an hour late for lunch when he enters a dark restaurant, shaking his head with embarrassment. He is still learning the realities of coaching two steps below the NHL.

Like how after a 3 p.m. game on a Sunday outside of Montreal, commercial flight delays mean his team can’t fly out until 9:30 p.m. Monday, arriving home at 2:30 a.m.

A practice on Tuesday, despite three games on the horizon? No chance.

Advertisement

Or how — an hour earlier — Cooke had one foot out of the arena when he had to turn around. The Growlers’ young Russian goalie Vyacheslav Peksa was called up to the AHL for the first time.

Cooke had to coordinate with the arena staff and ensure doors wouldn’t be locked so Peksa, 21, could return to collect his gear. Cooke answered Peksa’s questions and reminded him to bring a suit, a tie and enough clothes for what could be a multi-week trip.

Oh, and here’s the time you probably need to wake up and be out the door to catch the 5 a.m. flight.

“They don’t know,” Cooke says. “I need to make sure that as he’s leaving here we have at least somewhat prepared him.”

To return to hockey’s biggest stage, he wants Matt Cooke the communicator to replace the image of Matt Cooke ingrained in the hockey world.

Advertisement

“Communicating is one thing I feel I overdo at times,” he says, tongue planted firmly in cheek.

His office door is open. He extends his arms to two plush off-white couches for discussions. During practice, Cooke buzzes around, chattering and smiling.

“It’s my job to make sure (players) understand little nuances I’ve learned throughout my playing career,” Cooke says. “It may not be that a player can’t master those nuances. They might not even know they exist.”

Cooke hopes to follow two of his former assistant coaches, Tony Granato with the Pittsburgh Penguins and Darby Hendrickson with the Minnesota Wild. They backed him while also delivering important direction from coaching and management. Lines were never crossed and trust was never broken.

“I view myself as that guy,” Cooke says. “I feel like I’d be an awesome assistant coach in the NHL.”

Advertisement

Ironically, Cooke’s most meaningful impact could be if his players don’t follow his lead.

Earlier this season, 2018 second-round NHL Draft pick Serron Noel threw a hit that looked like a Matt Cooke special. Noel skated from behind into the back of Trois-Rivières Lions forward Anthony Beauregard. The boards shook violently from the force of it.

Noel vehemently protested his two-game suspension to Cooke, who listened patiently. “But it’s the right call,” Cooke told him. “You have the ability to limit the risk (to other players) and still be physical.”

Cooke placed an arm around the player as they slowly reviewed clips of Noel’s physical approach. Cooke instructed. Noel listened. Different skate positioning and improved movement will lead to better results. The goal: Apply physicality without malice.

“If a guy needs direction on how to rein in physicality, then it’s my responsibility to make sure he gets that support,” Cooke says. “Because that may be the only thing holding him back.”

Advertisement


Matt Cooke is hopeful his work in Newfoundland creates a pathway back to the NHL. (Jeff Parsons / Special to The Athletic)

The 2,693 raucous fans at Mary Brown’s Centre who welcome the Growlers are a fraction of the number of fans Cooke used to play in front of. But in this cheerful coastal town, the Growlers are beloved.

“Our fans put up with us playing horribly the last time we were here,” Cooke tells players before puck drop on a Thursday night against the Worcester Railers. Veterans nod to his messages about responsibility. He stresses that without the fans in the small town, his players would not have a job.

Fans bark at referees, players and Cooke, and $5 beers disappear when the “Chug Cam” flashes onto a video screen above the sheet of ice.

The fans’ anger at the team is justified. The Growlers were not ready to go and trailed 2-0 after the first period.

Often, that kind of performance would lead an NHL coach to avoid the dressing room, leaving players to sort out their failures. Cooke contemplates that approach.

Advertisement

But he reminds himself that most of these players have rarely faced off against veterans clawing for paychecks to feed their families. So Cooke wonders aloud if his players are prepared to be professionals.

“The worst part?” Cooke says to his team. “This should bother you.”

His younger players keep their eyes glued to the floor.

“Unless you put your pride on the line,” Cooke says, “the result will be the same.”

The message lands: The Growlers storm back to tie the score before they give up a late goal and lose 5-4. The loss is a blow for a team on the ECHL playoff bubble.

Advertisement

Cooke knows he needs their ears at a more private moment soon enough.

“That feeling when you’re lacing your skates should be, ‘I can’t wait to go out there and compete,’” he says of his team. “Some of them have it. Some of them, it has to be at a whole other level.”

Well past midnight, Cooke remains in his office delivering updates to the Leafs organization. His voice grows hoarse as the hours pile up. He contemplates sleeping on the couch in his office.

“Engage. Be present,” he tells himself as his eyes grow heavy. “When they come in in the morning, I can be the first person they see. I need to get to know where they’re at and get to know them personally.”

And so as the final revelers leave nearby pubs, Cooke remains in his office, thinking about how he can help each player advance on their hockey journey.

Advertisement

Cooke wants them to craft stories they’re proud of. Maybe when they do, his own story will change.

“There comes a point in time,” he says, “when people know you’re in this realm for the right reasons.”

(Illustration: Daniel Goldfarb / The Athletic. Photos: Present-day Matt Cooke images, Jeff Parsons / Special to The Athletic; with Penguins, Gregory Shamus / NHLI via Getty Images)

Advertisement

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