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Meet the MIT physicist turned Marlins coach behind the ‘torpedo’ bats used by the Yankees

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Meet the MIT physicist turned Marlins coach behind the ‘torpedo’ bats used by the Yankees

NEW YORK — The New York Yankees’ bats were the story of the team’s franchise-record nine-home run day against the Milwaukee Brewers on Saturday. Then came the discussion about the actual bats used by some players in the 20-9 win.

The uniquely shaped lumber is the result of two years of research and experimentation with a former Massachusetts Institute of Technology physicist-turned-coach at the helm.

The question at its center?

“Where are you trying to hit the ball?” Aaron Leanhardt said in a phone interview Sunday morning. “Where are you trying to make contact?”

Leanhardt, 48, began his work when he was a member of the Yankees’ minor-league hitting department in 2022 and brought it to the major leagues last season when he was the team’s lead analyst, with some players, including shortstop Anthony Volpe, trying them in games. Now, as many as five Yankees will be using them in games at least early this season, according to outfielder Cody Bellinger.

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The bats — with their torpedo-like shape — are custom-made to player preferences and are designed so that the densest part of the bat is where that particular hitter most often makes contact with the baseball, said Leanhardt, who became a field coordinator with the Miami Marlins in the offseason.

“Really,” he said. “It’s just about making the bat as heavy and as fat as possible in the area where you’re trying to do damage on the baseball.”


Anthony Volpe (holding a “torpedo” bat) congratulates Jazz Chisholm during the Yankees’ 20-9 win on Saturday. (Mike Stobe / Getty Images)

A Major League Baseball spokesman told The Athletic that the bats don’t break any rules. MLB Rule 3.02 states that a bat “shall be a smooth, round stick not more than 2.61 inches in diameter at the thickest part and not more than 42 inches in length. The bat shall be one piece of solid wood.” It also says that “experimental” bats can’t be used “until the manufacturer has secured approval from Major League Baseball of his design and methods of manufacture.”

Asked whether he was the inventor of the technology, Leanhardt said it was a group effort, the results coming from conversations with coaches, players, MLB and bat makers.

“Credit goes to those who take it,” Leanhardt said. “But if people want to ascribe credit to different people, then I’ll take some cut of it.”

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A Yankees official, however, said Leanhardt deserves “a lot” of the credit. Retired infielder Kevin Smith, who spent parts of four seasons in the majors, also credited Leanhardt as the inventor.

Leanhardt took an unorthodox route to baseball.

He has a bachelor’s degree in electrical engineering from the University of Michigan and a Ph.D. in physics from MIT. He was a physics professor at the University of Michigan from 2007 to 2014.

Leanhardt began coaching in the Atlantic League in 2017 and coached at a Montana community college before joining the Yankees in 2018. In the majors in 2024, the club said he was its first “major league analyst” and “responsible for integrating the use of quantitative information with on-field performance and preparation.”

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Why leave academia for baseball?

“I think that’s one of the cool things about sports is it’s very competitive,” he said. “Guys are willing to push the envelope. It’s just an opportunity to take my background to an area and find ways to innovate.”

Talking to players over the years revealed that their biggest concerns were twofold, Leanhardt said. They wanted to make more contact with pitches and they wanted to strike the ball more often with the bat’s “sweet spot,” or the densest area.

“They’re going to point to a location on the bat that is probably six or seven inches down from the tip of the bat,” he said. “That’s where the sweet spot typically is. It’s just through those conversations where you think to yourself, why don’t we exchange how much wood we’re putting on the tip versus how much we’re putting in the sweet spot? That’s the original concept right there. Just try to take all that excess weight and try to put it where you’re trying to hit the ball and then in exchange try to take the thinner diameter that used to be at the sweet spot and put that on the tip.”

Leanhardt said he didn’t see many drawbacks to redistributing the weight of the bat.

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“The bat speed should stay the same,” he said. “Maybe the bat speed can even increase a little bit depending on how you want to redesign the bat. But ultimately you’re getting a fatter barrel, a heavier barrel at the sweet spot. So in some sense, you can have your cake and eat it here too. You can get some gains without actually making sacrifices.”

Leanhardt said he didn’t want to talk about individual players’ experiences with the new bat. Yankees designated hitter Giancarlo Stanton told reporters earlier this month that it was “probably some bat adjustments”  last season that caused the ligament tears in both of his elbows that led to his current stay on the injured list, though he didn’t place specific blame on anybody. Then he added: “I don’t know why it happened.” Leanhardt declined to comment on Stanton’s situation.

“You’d have to ask the Yankees’ medical personnel about that,” he said. “I’ll defer all those questions to the Yankees’ medical guys.”

Leanhardt said it was “the nature of our business” that it took years for a radically new bat design to come along.

“People back in the day swung very heavy bats made out of hickory and then someone had this genius idea to swing something lighter, something like ash, and that was revolutionary back in the 1920s, ’30s, ’40s kind of in that transition, and then the industry kind of stayed the course for quite some time,” he said. “Ultimately, it just takes people asking the right questions and being willing to be forward-thinking.”

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He got a kick out of seeing the social media fervor the bats caused Saturday. He said that while some players began to use them last season, “the entire industry kind of caught wind of it” and “it exploded in the offseason.”

“Which is why you see it in the hands of so many guys right now,” he said. “Obviously, (Saturday’s) performance threw a whole lot of attention to it.”

It took a lot of coordination for the bats to go from the design stage to being manufactured. Leanhardt said he would “guarantee” he’s on a first-name basis with officials at MLB who oversee bat regulation and “everyone who operates the lathe for every bat manufacturer in baseball.”

“You really just are communicating with each company and trying to find the person who really knows the wood and knows how to turn the wood on a lathe. You just build a relationship with those guys and convince them that this is something that’s in their best interest to produce for their players. They want their players to be as successful as possible. Some guys buy in and it gains traction,” he said. “That’s really how it got built up.”

(Top photo of Aaron Leanhardt, right, with Marlins manager Clayton McCullough: Jasen Vinlove / Miami Marlins / Getty Images)

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Video: The A.I. threat to audiobooks

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Video: The A.I. threat to audiobooks

new video loaded: The A.I. threat to audiobooks

Artificial intelligence has made pirated audiobooks faster to make and harder to detect. Our reporter Alexandra Alter tells us about the latest threat to the publishing industry.

By Alexandra Alter, Léo Hamelin and Laura Salaberry

May 20, 2026

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.

The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.

With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.

“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”

Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.

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In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.

Your work has been categorized as Black romance, but how do you see yourself as a writer?

I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.

What intrigued you about the period of history you capture in the Hollywood Renaissance series?

I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.

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What about that period feels resonant now?

The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.

How does this moment in your career feel?

I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.

Why would it all go away?

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Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.

When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.

Why are you so firmly committed to defending the “happy ending” in romance novels?

It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.

I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.

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You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?

First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.

How does this apply to being a very visible Black author in romance?

I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.

How do you define success for yourself at this point?

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I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.

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How Many of These Books and Their Screen Versions Do You Know?

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How Many of These Books and Their Screen Versions Do You Know?

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 the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.

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