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Mauricio Pochettino: Introducing his USMNT backroom staff — and what each of them do

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Mauricio Pochettino: Introducing his USMNT backroom staff — and what each of them do

When Mauricio Pochettino stands on the touchline at SoFi Stadium in Los Angeles on June 12, 2026, watching his US men’s national team (USMNT) begin their World Cup finals campaign, the eyes of the rest of the world will be on him. Nothing he has experienced in his career as a coach at club level will compare to becoming one of the main characters in the greatest show on earth.

There are some elite managers who change their team of assistants from job to job. Pochettino is not one of them. Joining him with the USMNT are four people he knows very well; Miguel ‘Miki’ D’Agostino, Antonio ‘Toni’ Jimenez, Jesus Perez, and his son Sebastiano Pochettino.

He first assembled the core of his team — Perez, Jimenez and D’Agostino — in his first role at Barcelona-based Spanish club Espanyol, where he became the manager in 2009 at the age of 36, a couple of years after ending his playing career with them. Sebastiano joined them as a fitness coach and sports scientist at Tottenham Hotspur, Paris Saint-Germain and most recently Chelsea.

There will be one new face too, Silvia Tuya Vinas, who speaks English, Catalan and Spanish and joins as a strength and conditioning coach.

Pochettino will tap into the expertise of those already in the U.S. Soccer set-up, and is open to the possibility of adding a coach who is more familiar with American soccer and this group of USMNT players.

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Speaking at his first USMNT press conference in New York earlier this month, he said: “I think we have very qualified people working in the federation that can very quickly help us. But of course, we are flexible and we are always open to adding people because we know that football is changing; technology is here and now we need hands to work, people to work, because we need to analyze (lots of things).

“We have tools to work really, really hard. In the past, many years ago, you had only one coach, one fitness coach, one analyst and that’s it. But now in this business it’s really important to have all that you need to cover (everything), and you need qualified people working next to us to provide us information to be better and to help the players to perform.”

It is impossible to understand Pochettino’s work and his journey to date without understanding the coaching staff who have followed him every step of the way so far, from Spain to England, to France, back to the UK and now across the Atlantic.

Here, The Athletic profiles the coaches who will help prepare the USMNT for the 2026 World Cup on home soil — and how they operate as a team…


First, there is Miguel ‘Miki’ D’Agostino, who played with Pochettino for Newell’s Old Boys, a club in their native Argentina (named after an Englishman who was among the pioneers to first bring soccer to that South American country), in the early 1990s.

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The two men have been close since they were teenagers playing for Newell’s under now world-famous coach Marcelo Bielsa, marvelling at the routines Bielsa had them going through to get them in tip-top shape. Pochettino loves telling the story of how he used to give D’Agostino a lift to training in his battered old Fiat Uno, only for D’Agostino to accidentally break off one of its doors, something for which he has never paid Pochettino back.

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D’Agostino did not have as stellar a playing career as his friend, who won 20 caps for Argentina and played for them in the 2002 World Cup, but when Pochettino took over at Espanyol, he quickly called him in to work on his backroom team, filming sessions from a hastily-constructed tower at the training ground. Even now, he oversees analysis and scouting for Pochettino — hugely important work for a staff who want all possible information at their fingertips. Also, because D’Agostino spent six years playing and coaching in France in the early to mid-2000s, he would interpret for Pochettino in press conferences when they were together more recently at Paris Saint-Germain.

Then there is Antonio ‘Toni’ Jimenez, who played in goal for Espanyol in the 1990s and 2000s. He had a great playing career, including being part of the Spain team that won gold in the football tournament at the 1992 Olympics in Barcelona, alongside future global stars Pep Guardiola and Luis Enrique. He, naturally enough, became Pochettino’s goalkeeping coach at Espanyol and has been part of the backroom team ever since.

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Pochettino and Jimenez celebrate Spurs’ Champions League semi-final win over Ajax in 2019 (Bradley Collyer/Getty Images)

Jesus Perez is Pochettino’s assistant manager and his right-hand man. Perez was a fitness coach with a background in sports science who worked for various clubs across Spain in the 2000s. He initially joined Pochettino’s Espanyol as an analyst, in part because he knew how to use the software Sportscode, while also working with the youth academy. Three months later, he became part of the first-team coaching staff.

Perez is Pochettino’s closest confidante, so much so that the new USMNT boss has described him as an “extension of himself”. It was Perez, along with Pochettino’s wife, Karina, who convinced him to move to the Premier League as Southampton manager in early 2013 — one of the most important moments of his whole career — two months after leaving Espanyol by mutual consent.

Pochettino’s work is unimaginable without Perez by his side. He oversees so much of what Pochettino does, from the training loads of players to the monitoring regime to assess their injury risk. He is Pochettino’s eyes and ears, across everything that he needs to know, right down to details like whether players have arrived with a new car or new watch.


The Athletic has every angle covered on Mauricio Pochettino’s appointment as USMNT head coach:


Perez can be tough and is not averse to speaking his mind, but he is also the perfect complement to Pochettino. One of the strengths of their relationship is that they interchange the roles of good and bad cop. If Pochettino is going easier on the players, Perez will take a harder view and vice-versa. In contrast, it was often remarked at Tottenham, who sacked Pochettino and his staff after a poor start to their 2019-20 season, that one of the problems with successor Jose Mourinho and his No 2 Joao Sacramento was that they always echoed one another rather than delivering different messages.

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Ultimately, Perez’s energy and ideas make him an indispensable part of the Pochettino team. One former colleague once described him as the most intelligent person he had ever worked with in football, someone who could run every department on the football side of the club better than each one’s actual head.

The final addition was Pochettino’s son, Sebastiano, who earned a university degree in sports and exercise when his father was Southampton manager in 2013 and 2014. He has worked for his dad as a fitness coach and sports scientist at Spurs, PSG and Chelsea and is an established part of the team.


D’Agostino, Pochettino and Perez at Chelsea in 2024 (Darren Walsh/Getty Images)

Silvia Tuya Vinas joins them with the USMNT as a strength and conditioning coach. Vinas, who studied for a PhD in sports science at Barcelona University and speaks English, Catalan and Spanish, most recently worked with the Levante Badalona women’s team in Spain.


The close links between Pochettino’s long-term associates allow them to oversee the holistic approach that has defined Pochettino’s coaching career so far.

At the heart of it — the first aspect of his coaching — is the style of play.

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Pochettino teams want to play the positional game, a style of football where you control the space through the positions you take on the pitch. They want to dominate possession, but only as a way to dominate the game rather than an end in itself. His teams always play out from the back and they are especially proud of having done this at two smaller clubs in Espanyol and Southampton rather than only when they inherited elite players. By the end of Pochettino’s one season at Chelsea back in the spring of this year, you could see them playing his football, too.

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This is a very structured style of play, more similar to the football of Guardiola than to any other coach, but slightly less rigid than that. The structure of a Pochettino side is integral to being able to press well: you need the players to be in the correct positions if you want to win the ball back within three seconds. You defend the way you attack, as Pochettino’s staff say, rather than the other way around. And so it needs a lot of time on the training ground to get it right.

This brings in the second aspect of the Pochettino approach: building the relationship between the coaches and the squad.

This is often called ‘team-building’, but it will not work if it does not extend beyond the first XI. Pochettino wants to create an environment where every player feels included and respected, famously introducing handshakes every morning at Tottenham. He always makes time to talk to his players as individuals. It is about achieving ‘buy-in’, making sure the players form that shared ethos that is indispensable to any good team. This is in part why Pochettino does not believe in fining players for ill-discipline: he wants them to do the right things because they want to, not because they have to.

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If the squad are fully invested, that helps the crucial third aspect of the Pochettino methodology: improving the individual players on the training ground. There are some managers who see their job as just building up to every matchday, tweaking the tactics, motivating the players, but Pochettino and his staff put much more emphasis on constant daily improvement.


Sebastiano Pochettino, centre, has worked under his father as a fitness coach and sports scientist (John Berry/Getty Images)

It is hard work and players do not always relish it at first, but the viewpoint has always been that the ultimate way to respect players is to help to make them better. So there are not many days off and, when the schedule allows, double sessions. There is an emphasis on fitness because there is no point in simply wanting to press if the players do not have the gas in the tank to do it, as well as the understanding of when and how to do so.

Pochettino has a reputation for running his players hard.

At Southampton, he would have the players doing ‘horseshoe’ runs around the pitch, even on a Monday after they had played a match two days before. And during pre-seasons, he loves to give his players the ‘Gacon Test’, invented by Georges Gacon, a French fitness coach who worked at PSG just before Pochettino’s time playing there. The Gacon Test involves 45 seconds of running, then 15 seconds of rest, over and over again, with the distance covered in that running portion increasing steadily each time. It was designed to push players’ maximum aerobic capacity, inspired by Gacon’s work with middle-distance track and field athletes, although in reality these runs are just a small fraction of the overall process and are always done with a specific goal in mind.

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There is gym work, too, not traditional weight-lifting but sessions geared towards the functional movements that make up football: running, jumping, kicking or throwing and competing for the ball. Repeating these actions with varying resistance and repetitions builds up the players’ power and endurance over the season. Then there is cognitive training in the gym, asking players to react to lights turning on in a panel in front of them.

The purpose of all of this is fitness and injury prevention and Pochettino players are carefully monitored with saliva tests every morning to assess muscle damage and hormone response. The aim is to know as much about them as possible to establish how they are coping with the rigours of competition.

So many of these methods and techniques are based around the daily life of club football. They rely on constant exposure to the players, to build up their fitness, monitor their physical response and to build that fraternal feeling between a group of players who all suffer together.

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The fascinating thing about Pochettino’s move to international football will be how these ideas and techniques work in that format, where managers can go months during a season without seeing their players. Longer still if there are untimely injuries.

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Because Pochettino and his staff will naturally only get their hands on the players for limited amounts of time between now and that 2026 World Cup, which the United States is co-hosting (albeit staging the bulk of the matches, including all games from the quarter-finals onwards) with neighbours Canada and Mexico.

Whatever habits and principles they instil will always be diluted by whatever those players do with their clubs in the intervening periods.

International get-togethers, when they happen, are often more about fine-tuning rather than putting in the hard yards. And yet the success of Pochettino and his staff — and, by extension, the USMNT in a home World Cup — may stand or fall by how much of a positive impact they can make.

(Top photo, from left: Sebastiano Pochettino, Toni Jimenez, Mauricio Pochettino, Jesus Perez and Michel D’Agostino; John Berry/Getty Images)

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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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.

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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.

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Wallace Stevens in 1950.

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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?

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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.

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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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