Culture
Mets shouldn't be buyers. They should be aggressive buyers at the deadline
NEW YORK — On Wednesday, in discussing how his bullpen plans shift moment to moment over a nine-inning game, Carlos Mendoza chuckled at the idea of forming a pregame plan and sticking to it.
“I don’t know that there’s ever a time you come up with a game plan and stick to it,” the Mets manager said. “Every time you make an adjustment because the game unfolds. … You have an idea, but then you have to make adjustments.”
Perhaps Mendoza’s boss, David Stearns, should take that advice when it comes to this season.
The Mets entered 2024 with a clear, consistent plan from ownership down to the clubhouse. While they did not possess the high expectations of previous spring trainings, they thought they could be legitimate contenders for the postseason while preserving a sustained window of contention in the future. And here they are, days ahead of the trade deadline, as legitimate contenders for the postseason who have preserved a sustained window of contention in the future.
But after another memorable win Thursday night, a walk-off 3-2 victory over Atlanta that felt like the inverse of so many nightmarish nights at Turner Field, maybe it’s time for Stearns and the New York front office to get a little greedy about 2024. Yes, the Mets are going to be buyers at the trade deadline. But let’s make a case for the Mets to do more than add a reliever in the next week, a case for the Mets to be aggressive buyers like they last were en route to an unexpected pennant in 2015.
The Mets are good enough
Let’s do some blind resumes for teams on the morning of July 26 over the years.
Blind resumes
|
Team
|
W
|
L
|
Pct.
|
RD
|
NL Rank
|
GB of Playoffs
|
|---|---|---|---|---|---|---|
|
A |
56 |
46 |
0.549 |
85 |
5 |
— |
|
B |
55 |
47 |
0.539 |
9 |
T5 |
— |
|
C |
55 |
47 |
0.539 |
49 |
T3 |
— |
|
D |
54 |
48 |
0.529 |
23 |
5 |
— |
|
E |
50 |
46 |
0.521 |
46 |
7 |
0.5 |
|
F |
48 |
51 |
0.485 |
36 |
10 |
6 |
OK, blindfolds off! What do those pretty similar teams all have in common? They all won the pennant.
NL pennant-winners (plus the Mets)
|
Team
|
W
|
L
|
Pct.
|
RD
|
NL Rank
|
GB of Playoffs
|
|---|---|---|---|---|---|---|
|
56 |
46 |
0.549 |
85 |
5 |
— |
|
|
55 |
47 |
0.539 |
9 |
T5 |
— |
|
|
55 |
47 |
0.539 |
49 |
T3 |
— |
|
|
54 |
48 |
0.529 |
23 |
5 |
— |
|
|
50 |
46 |
0.521 |
46 |
7 |
0.5 |
|
|
48 |
51 |
0.485 |
36 |
10 |
6 |
They were also pretty aggressive at the trade deadline. I classified the 2018 Dodgers (Manny Machado) and 2022 Phillies (David Robertson, Brandon Marsh and Noah Syndergaard) as All-in Buyers — teams that surrendered significant prospect capital for the present. The 2019 Nationals added three relievers, including the guy who would record the final out of the World Series. In 2021, Atlanta brought in four outfielders, including the NLCS and World Series MVPs. In 2023, Arizona dealt for a closer to better position itself for the postseason.
(For what it’s worth, the 2015 Mets, another All-in Buyer, were 50-48 with a negative-seven run differential on July 26.)
No, the Mets lack the kind of rotation and bullpen you generally rely on to carry you in October. However, New York possesses an offense that appears built for the postseason. As evidenced by its bashing of Gerrit Cole twice in the last month, the Mets’ lineup can go deep with the best of them. Only Baltimore has hit more homers since the Mets’ hot streak started May 30, and they’re tied for fourth in the majors in homers on the season — ahead of everyone but the Dodgers in the National League. On Thursday, New York was in the game against a dominant Chris Sale because Francisco Lindor turned one Sale mistake into two Mets runs.
Homers carry offenses come October. The similarly productive but differently constituted offense in 2022 tied for 15th in the league in home runs, then watched Atlanta and San Diego outhomer it in the biggest games of the season. This Mets offense can swing a short series with its power.
The National League is open
Here’s an important caveat: If I covered the Pirates or the Reds or the Padres or the Diamondbacks, I’d probably be making the exact same case. Because the National League is as open as it’s been in years.
Los Angeles and Atlanta have been the two best teams in the senior circuit for the last several seasons. Both are enduring more turbulent regular seasons than they’re accustomed to. The Dodgers continue to have health questions about their rotation, a dynamic that doomed them last October. Atlanta’s best hitter and best pitcher are out for the season. Its lineup looks like a shell of what the Mets are used to confronting.
While the Phillies have taken the mantle of the NL’s team to beat, they’re a team the Mets are pretty good at beating. They memorably went 14-5 against Philadelphia in 2022, and even during a down 2023 went 6-7 against it. This year, the Mets are 2-4 against the Phillies. And remarkably, since the start of the 2022 season, New York is 10-3 when facing either Aaron Nola or Zack Wheeler.
The timing actually clicks
It’s really tempting for teams to try manipulating their window of contention — to be cautious this year to put more eggs in a basket down the line. In doing so, however, they often miss the year to win.
The 2015 Mets could have been more cautious: Syndergaard and Steven Matz were rookies, Wheeler was hurt, the NL had several very good teams — surely the Mets’ best chance to advance in October would be down the road? As it turns out, that young rotation was never as healthy or as dominant as it was right then and there, and the Mets’ aggressiveness paid off in a pennant.
(Contrast that with the 2013-2015 Pirates, who never made the big move to push a very good team over the top. They still haven’t won a postseason series since 1979.)
For the Mets, it’s also fair to ask: What year, specifically, are they waiting for? Injuries to some key prospects this year mean New York won’t head into spring training 2025 planning to give an everyday spot to a talented rookie. The full incorporation of guys like Jett Williams, Drew Gilbert, Luisangel Acuña and Ryan Clifford won’t happen until 2026 — by which point Lindor will be 32 and Brandon Nimmo 33, on the outskirts of their primes.
The goal is to open a sustained window of contention and pounce on legitimate opportunities to win divisions, pennants and championships. The Mets are there. The two players they have signed long-term are having career-best years. Their cornerstone first baseman might not be here next year.
The window of contention is already open.
What does this mean?
Let’s be honest: This is where most columns like this end. There’s all that reasoning for going for it, now it’s Stearns’ job to turn that into something.
But I’d be remiss if I didn’t mention that the current shape of the deadline market makes it difficult to go for it. Teams like the Pirates and Reds and Padres and Diamondbacks are all still in it in the National League, and the number of sellers is tinier than usual. The best starter likely to be traded may not be able to start much more this season. The best reliever likely to be traded has a walk rate you wouldn’t comfortably hit on in blackjack.
It’s harder to provide the kind of blueprint for the deadline that I do for the offseason because acquisition costs in trades are so much more difficult to project than open-market salaries. So I’ll settle for suggestions that would fit more of an all-in approach.
1. Engage the White Sox on Garrett Crochet with the understanding you’d be acquiring him to pitch out of the bullpen in 2024. The Athletic reported Thursday that Crochet would prefer to stay on a starter’s schedule (albeit with limited innings) down the stretch of this season unless an acquiring team signs him to a contract extension.
As I outlined Thursday morning, the Mets could use a long-term ace. Here’s a 25-year-old left-handed All-Star who leads the league in strikeouts and is interested in a long-term extension. Those all feel like good things. (Like Wheeler, Crochet’s likely arbitration salaries for the next two seasons will be suppressed by his lack of availability up to this point in his career. Thus, a long-term extension would cost less against the luxury tax than it might otherwise.)
Trade for Crochet, extend him and make him a multi-inning reliever with scheduled appearances the rest of the way. Imagine him coming in behind your right-handed starters in the postseason and serving as a one-man bridge to Edwin Díaz. Put him back in the rotation in 2025 and beyond. That might be worth the significant package of prospects it would require, as it would mean the Mets wouldn’t have to dive into the deep end of the starting pitching market this winter for a free agent already in his 30s.
2. If Crochet proves too much, combine a rotation upgrade — chiefly, a pitcher who misses more bats than the current starters — with two additions in the pen and one to the bench.
In the rotation, Detroit’s Jack Flaherty and Toronto’s Yusei Kikuchi come to mind. Flaherty will cost a good amount, but he too could become a viable option to re-sign.
For the bullpen, one high-leverage lefty should be the priority. Scroll past Tanner Scott to his teammate Andrew Nardi or to The Athletic’s years-long target Andrew Chafin of the Tigers. Another multi-inning arm could help keep the group fresh, as well. Cincinnati’s Buck Farmer or Detroit’s Alex Faedo could work there.
The final piece would be a versatile bench contributor who could protect the Mets against regression or injury at a few different positions. Detroit’s Andy Ibañez, Tampa Bay’s Amed Rosario, Toronto’s Isiah Kiner-Falefa and Oakland’s Abraham Toro could fit that role.
(Photo of José Buttó: Adam Hunger / Getty Images)
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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