Culture
Mueller: Has the NFL WR market reached a breaking point? How much is too much?
I’m not one for letting good players walk out the door.
I know from experience that talent is too hard to replace, even with the best-hatched plan, without taking a step backward. So I understand that, at least sometimes, proven teams need to overpay slightly for the sake of continuity.
But recent contracts for NFL wide receivers have forced me to at least question my philosophy. And that tells me that general managers and team-builders around the NFL are no doubt contemplating that question as well.
It’s not because these receivers lack talent. They are all really good players. But the contract numbers are making the team-building equation more complicated than ever.
The dilemma is twofold. First, if you’re going to pay a wide receiver more than $30 million per year, are you sure he’s a difference-maker and not just a guy who fits your system? And second, is it feasible to pay big salaries to more than one wide receiver on your roster?
Football GM Podcast is back with a run thru the #NFLDraft & more … @RandyMueller_ & I tie together WR evaluation in the draft, WR valuation in the veteran market & what the #bills are attempting, for example.
Plus a few lesser-known players to watch#NFL…
— Mike Sando (@SandoNFL) May 11, 2024
Ten years ago, the NFL’s top-paid wide receivers made about $16 million annually, equaling about 12 percent of the $133 million cap. Today, A.J. Brown leads the way at $32 million annually on a cap of $255 million. That’s still just 12.5 percent of the cap. But let’s look closer.
In 2014, the two receivers making $16 million annually were Calvin Johnson and Larry Fitzgerald, the clear standard-bearers at the position. There weren’t enough top-of-the-heap receivers that every new contract would reset the market. Dez Bryant, Demaryius Thomas, Julio Jones and A.J. Green signed new contracts in 2015, but none exceeded $15 million per year. Fitzgerald’s and Johnson’s deals weren’t eclipsed until Antonio Brown hit $17 million per year in 2017 (a year after Johnson retired), just 10.2 percent of the $167 million cap.
The receiver market has already been reset twice in the past month, and we are on the verge of another jump with Justin Jefferson, CeeDee Lamb, Ja’Marr Chase and Brandon Aiyuk all up for new deals. All four could plausibly reset the market, so we might be looking at $35 million per year — which would be 13.7 percent of the cap — or more. That leaves the Minnesota Vikings, Dallas Cowboys, Cincinnati Bengals and San Francisco 49ers with big decisions with implications across their rosters.
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Teams must take a hard look at where this money will come from. How much is too much for a non-quarterback? Does it make sense for a position group other than QB to exceed 20 percent of a team’s cap? How would that affect decisions elsewhere on the roster?
Jefferson is arguably the best receiver in the league, and Minnesota should certainly extend him. But the cost will tighten money to spend elsewhere, like on last year’s first-round pick, 22-year-old Jordan Addison, when his rookie deal ends. Of course, if the Vikings’ assessment of J.J. McCarthy proves accurate, a quality quarterback on a five-year rookie contract might be just what the doctor ordered. If I were running the Vikings, I would pay Jefferson and keep churning WR2 at the end of Addison’s deal.
Jerry Jones and the Cowboys probably need to be much more creative in dealing with Lamb. Jones already has a $50 million-plus quarterback quandary on his hands, with Dak Prescott having all the leverage in an endless game of chicken. As long as Prescott is the QB, the Cowboys’ evaluation skills might be challenged beyond most as they seek value from other receivers to pair with Lamb.
If I were the Bengals, I would probably sign Chase — who still has two years left on his deal — as soon as possible to avoid resetting the market after Lamb’s and Jefferson’s deals come in. Cincinnati already appears to be planning to let Tee Higgins walk after this season, which might necessitate another high NFL Draft investment at the position next year.
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The 49ers have a more complicated situation than the Bengals, having already paid Deebo Samuel ($23.8 million per year, $28.6 million against the cap in 2024) and with Aiyuk ($14.1 million against the cap in 2024) in the last year of his contract. Both players’ names have been popular in trade rumors this offseason. The Niners hedged their bet by drafting Florida receiver Ricky Pearsall in Round 1 last month, giving themselves options at the position.
My crystal ball tells me this group will undergo a renovation after the 2024 season. Aiyuk and Samuel are set to count $42.7 million against the cap this season. Add Pearsall and tight end George Kittle and that’s more than $56 million against the cap (22 percent) for four pass catchers. Samuel is the NFL’s eighth-highest-paid wideout and might rank third in the 49ers’ position room when it comes to route running and ball skills. Something will have to give.
Will Deebo Samuel, left, or Brandon Aiyuk be elsewhere in 2025? (Thearon W. Henderson / Getty Images)
Players deserve whatever they can get — I am not here to dispute this — but even NFL teams with the most creative capologists will eventually be forced to pay for their extensions of credit, just like you and I. So what will they do about the rising costs of receivers?
When players get too expensive, nothing speaks louder than cheaper options.
Teams selected 35 wide receivers in the 2024 draft. That’s not unordinary, but the total of seven picked in Round 1 grabbed my attention. Sure, it might just have been a year with several special talents available. But it also might speak to a few other factors:
1. With experienced receivers becoming more expensive, teams need more cheap talent.
2. In this era of seven-on-seven competitions and wide-open passing offenses in college, receivers have more advanced skills at a younger age.
3. Good talent evaluators can identify and sequence receivers properly, with smoother projections to the NFL.
If you can identify the traits — beyond stats, height, weight and speed — that lend to a reasonably high hit rate on prospects, you can find value. These would be my top three traits, which you can find if you watch enough tape, for a receiver to fit any scheme:
• Create separation at the break point and/or change gears while underway in a route.
• See and distinguish coverage with your mind and reactions (or instincts), pre- and post-snap.
• Consistently extend to catch with your hands near defenders, allowing small guys to play bigger and big guys to be great.
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The last few draft classes have been rich in receiver talent. Even in a watered-down free-agent pool this year, there were several good values. In short, you don’t have to pay top-notch to get value at wide receiver.
Some teams, such as the Green Bay Packers, Kansas City Chiefs and Buffalo Bills, have already picked a lane. (Of course, having a talented quarterback makes it easier for them to consider this road.)
The Packers and Chiefs traded Davante Adams and Tyreek Hill before the 2022 season instead of paying them. Adams got $28 million from the Las Vegas Raiders, and Hill got $30 million annually from the Miami Dolphins. The Bills traded Stefon Diggs to the Houston Texans this offseason, two years after signing him to an extension worth $24 million annually.
Though the Adams trade has not exactly worked out for the Raiders, Packers GM Brian Gutekunst has reworked Green Bay’s receivers via the developmental route.
Christian Watson, drafted in the second round in 2022, is a straight-line-fast long-strider who can eat up a cushion, take the top off defenses and catch when he’s covered. His game is similar to that of Jameson Williams, whom the Detroit Lions drafted 22 picks earlier. In Round 4 that year, the Packers took Romeo Doubs, who will make $1.1 million this year after catching 59 passes in 2023. Doubs’ ability to find soft spots and distinguish coverages resembles that of the Lions’ Amon-Ra St. Brown, at least stylistically.
Last year, the Packers took Jayden Reed (64 catches as a rookie) in Round 2 and Dontayvion Wicks (39 catches, 14.9 yards per catch) in Round 5. Given his acceleration off the ball and out of breaks, Wicks might have more upside than any of the above.
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Sure, it requires conviction in your evaluations, but Green Bay should be lauded for overhauling this group almost entirely with draft picks (none in Round 1), as those four receivers will cost a total of $6.3 million against the cap in 2024. Other teams should try to copy this economic model.
I’m not saying the Lions are wrong, but it’s a useful comparison. They reset the market by paying St. Brown $30 million per year even though he ranked 71st in the NFL in average air yards per target (7.75) and 39th in average yards per reception (12.7) last season. I understand the importance of keeping peace in the locker room and rewarding hard workers and leaders. He fits their system. But that signing might have ruffled a few feathers outside of the Lions’ front office and fans, who think it is money well spent. The Lions did let 29-year-old wideout Josh Reynolds walk, so they have shown they are willing to make tough choices, too.
The Chiefs, no doubt aided by Patrick Mahomes’ presence, have thrived since bailing on the market and going young, like the Packers. The Bills, with Josh Allen, have taken a similar route this offseason, choosing quantity over quality with reasonably priced veterans in Curtis Samuel, Marquez Valdes-Scantling and Chase Claypool and second-round rookie Keon Coleman, after trading Diggs and letting Gabe Davis walk.
Of course, there are still teams on the opposite end of the spectrum. The Seattle Seahawks paid DK Metcalf and Tyler Lockett a total of $41.3 million annually (they restructured Lockett’s deal this offseason), then drafted a receiver (Jaxon Smith-Njigba) in Round 1 in 2023. The Philadelphia Eagles paid Brown and DeVonta Smith this offseason a combined $57 million annually (22.4 percent of the cap), even after signing quarterback Jalen Hurts to a record deal last offseason.
The Eagles made those investments after struggling to draft and develop receivers, missing on top-60 picks in Jordan Matthews, Nelson Agholor, JJ Arcega-Whiteside and Jalen Reagor. I can’t help but wonder: Was paying Brown and Smith a reaction to their previous struggles at the position?
There’s not necessarily a correct way to handle the rising costs at wide receiver. If there is, I’m not sure we know it just yet. Many theories are still being tested.
But here is something to consider: Teams will always have to pay great money for good players at positions where there is true scarcity, like quarterback. But I don’t see wide receiver, especially in the modern NFL, as a position of true scarcity. As a result, the sticker shock of recent contracts has given me pause.
I’m still not for letting any good player walk, but with each market-setting deal, the costs are getting harder to justify.
(Top photos of Amon-Ra St. Brown, left, and Justin Jefferson: Cooper Neill, Grant Halverson / Getty Images)
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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.
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.
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.
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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