Culture
NBA free agency: Russell Westbrook, Quentin Grimes and the odd situations that loom
Get ready for a different kind of free agency this summer: Less wild, perhaps, but weirder.
At first, the 2025 NBA free-agent class doesn’t exactly overwhelm you with front-line talent. This isn’t the year for superstars holding meetings in the Hamptons while teams wait on pins and needles for franchise-altering decisions. Only one likely All-NBA selection can become a free agent this summer, and that one (the Los Angeles Lakers’ LeBron James) isn’t going anywhere. The next-best potential free agent, the Dallas Mavericks’ Kyrie Irving, turns 33 soon and just tore his ACL.
However, what the free-agent class lacks in superstar talent, it makes up for in sheer quirkiness. Between the most recent collective bargaining agreement, some existing rules that rarely came into play before and several players massively outplaying small contracts, this summer could offer some real financial puzzles for front offices.
Here’s a preview of some of the more interesting conundrums as we truck toward the offseason:
Ty Jerome’s unlikely breakout
Jerome might have the best value non-rookie contract in the league; the Cleveland Cavaliers’ breakout super sub only makes $2.56 million after signing a two-year deal with the Cavs in 2023.
The issue this summer is that the Cavs only have early Bird rights on him as a free agent because of that two-year deal. Nobody ever considered the possibility that Jerome would be so awesome that “only” being able to pay him $14 million next season would make him a potential flight risk, but here we are.
Jerome is having one of the most unlikely breakout seasons in league annals, suddenly emerging in his sixth season out of Virginia (wahoowa!) as a serious contender for both the Sixth Man of the Year and Most Improved Player awards. He’s shooting 41.8 percent from 3 and an unfathomable 55.6 percent from floater range, boasts the league’s 10th-highest steal rate among players with at least 1,000 minutes, averages nearly three assists for every turnover and has compiled a 20.1 PER for a team that’s a phenomenal 56-13.
Knowing the Cavs can only get to $14 million, if you’re a team like the Brooklyn Nets or Chicago Bulls that has some cap space this summer, is it out of the question to offer Jerome $20 million a year? He’s 27, so his next deal would pay him for his prime years.
The cap rules on paying Jerome are only half the problem for Cleveland. The other half is … what if he re-signs? Locking up Jerome at that $14 million number becomes a very expensive proposition for the Cavs, who are plunging deep into the luxury tax next year regardless because of Evan Mobley’s likely supermax extension.
Paying Jerome market-rate money on top of that would blast Cleveland way past the second-apron threshold. While it’s possible other trades could soften the blow (what would you give me for a lightly used Isaac Okoro?), it’s clear Jerome’s unlikely success has added another layer to what was already a tricky cap problem facing Cleveland.
Could he take a cheapo one-plus-one deal that would let the Cavs pay him as a Bird rights free agent a year from now? That might be the only palatable endgame from Cleveland’s side, but it’s tough to ask a guy who has never been paid to wait another year for his bag.
Ty Jerome has taken a major leap in Year 6. (Gary A. Vasquez / Imagn Images)
Russell Westbrook’s option
Westbrook is thriving in Denver, yet he and the Nuggets face a very interesting fork in the road. He has a player option for 2025-26 for $3.5 million, and he’s pretty clearly worth massively more than this, at least to the Nuggets. That’s good news for this season but bad news once we get to the summer.
Westbrook opting out feels like a no-brainer, but Denver has few mechanisms for paying him much more. The best possibility is probably to use its taxpayer midlevel exception, which would cap the Nuggets at the second apron but would allow them to pay Westbrook a projected $5.7 million in 2025-26. A two-year deal with a player option would let him opt out of that contract again in 2026 to get more jelly as an early Bird free agent.
Anything more than $5.7 million requires some serious digging. For instance, getting to the point where the Nuggets could pay Westbrook some or all of the projected $14.1 million nontaxpayer midlevel exception would require the Nuggets to shed about $10 million in other salaries to get themselves below the first apron.
That would most likely be accomplished by trading Dario Šarić (who, incredibly, was signed for more money than Westbrook last summer) and Zeke Nnaji (who is playing better of late but still owed $23 million over the next three years). The Nuggets, however, have no draft picks left to incentivize a trade, because they’ve already used so many to offload other bad contracts. They can trade their two 2032 picks after the draft, but do they really want to ditch those picks already? At what price point is it worth just trying to find their next Westbrook?
Jake LaRavia’s contract ceiling
The Sacramento Kings acquired LaRavia from the Memphis Grizzlies with a second-round pick at the trade deadline, a needed piece in a lineup that lacked size at the forward spot.
The conundrum for Kings fans is that they want a “Goldilocks” LaRavia … one who plays well but not too well. As a result of Memphis declining his fourth-year option for 2025-26 this past fall, LaRavia is limited in free agency to re-signing for that declined fourth-year salary of $5,163,127. That limit carried over in the trade; neither Memphis nor Sacramento can pay him more than this but 28 other teams can.
That puts Sacramento at a disadvantage in free agency, but the Kings have a way to get that advantage back if LaRavia doesn’t play too well. The Kings could give him a two-year deal with a second-year player option that starts at that $5.16 million figure; he could then opt out of the second year in 2026 if he has a good year and would have full Bird rights with the Kings and be able to re-sign for any amount.
Obviously, that goes out the window if somebody drops a full midlevel exception offer on him this summer, but thus far, it seems like LaRavia will thread the needle where nobody values him at that amount.
Guerschon Yabusele’s minimum
The Dancing Bear hasn’t played quite as well as Westbrook, but he’s in a similar situation: Playing well enough on a short deal for a taxed-out team that keeping him will be a bit of a pickle.
Yabusele is on a one-year minimum deal; he has non-Bird rights, and the most he can get from Philly without using exception money is a 20 percent raise on his minimum for next year, or $2.85 million. His market value seems pretty clearly more than that, although there is a glimmer of possibility that the Sixers could get him to sign a one-plus-one deal that lets him try free agency again next summer.
As with Westbrook above, the cleanest solution would be for the Sixers to re-sign Yabusele with their taxpayer midlevel exception of $5.7 million. The problem is that it would cap the Sixers at the second apron, and they might need that money for…
Quentin Grimes, superstar
One of the most bizarre situations in the league is happening in Philadelphia right now, where the Sixers are simultaneously navigating a tank job to possibly keep a top-six protected pick and a contract push from Grimes as he hits restricted free agency. A low-usage role player in his first three seasons, Grimes had stepped things up a bit in 47 games in Dallas this season, but he didn’t really blow up until he got to Philly at the trade deadline.
On a denuded Sixers roster with three injured All-Stars, Grimes has averaged 21.8 points while making shots from everywhere — he’s shooting 39.5 percent on 3s and 60.1 percent on 2s, the latter a fairly incredible figure for a 6-foot-5 guard with middling athleticism.
At some point, you figure he’ll cool off a bit, but even after regressing his shooting to the mean, the stat line is impressive. (He’s also increased his rates of rebounds, blocks, steals and assists. Dude is balling.)
What does that mean for Grimes this summer? Being a restricted free agent might limit the market, but given the Sixers’ position vis-a-vis the luxury tax and aprons, teams might also be tempted to test the Sixers’ willingness to spend by dropping a big offer sheet. It could actually tempt a rival team to spend more, in the hopes of creating such a poisonous sheet that the Sixers run away shrieking. Right now, Brooklyn is the only team in a strong position to do this, but things can change before July 1; Grimes will only be 25 this summer, so as with Jerome above, a team would be buying his theoretical prime.
That takes us to the other aspect of Grimes’ situation. Paying him something on the order of $20 million a year would take the Sixers right to the second-apron line, assuming their three players with options choose to pick them up. (Kelly Oubre, Andre Drummond and Eric Gordon have player options worth a total of $17 million; none set hearts aflame with their play in 2024-25.)
That is, unless the Sixers keep their pick, which would add several million to their cap number (the fourth pick will make $8.4 million, for instance) and tighten the screws in other places. In particular, it would seemingly be very difficult to keep both Grimes and Yabusele at their market rates with a top-six pick in the draft.
This takes us back to the tank. The Sixers are in quite a “race” with Toronto and Brooklyn for the fifth- through seventh-worst records in the league, with the three teams resorting to increasingly impressive hijinks to, um, keep up … except that Philly keeps playing Grimes. The Sixers have gone 4-17 since Feb. 4, but Grimes singlehandedly delivered one of the wins (a 44-point masterpiece against the Golden State Warriors) and nearly pulled out another when he hung 46 on the Houston Rockets in an overtime loss.
The difference between fifth and seventh might not seem like much, but it literally doubles the Sixers’ odds of keeping the pick (from 31.9 percent to 63.9 percent). If Grimes leads them to enough wins that the Sixers don’t keep the pick, there’s more money left to pay him!
Malik Beasley, shooting star
I’m not sure what the Pistons’ plans were for their non-max trove of cap space this summer (roughly $25 million), but I’m guessing “using it all to re-sign Malik Beasley” wasn’t anywhere on the list when they were mapping out scenarios last fall.
That was before Beasley basically turned into Stephen Curry from beyond the 3-point line. No, seriously. Beasley’s 16.2 3-point attempts per 100 possessions this season are second only to Curry’s 16.9, and Beasley has knocked down an incredible 41.9 percent of them.
Wait, it gets better: Beasley’s 6.8 3-point makes per 100 are the most ever for a player not named Curry — Steph has beaten it four times, but James Harden in 2018-19 is the only other player to reach 6.5 in a season of 1,500 or more minutes.
This, obviously, has made Beasley a very valuable player. Beasley signed a one-year deal worth $6 million last summer; there is no scenario where the Pistons can keep him for anything close to that. At a bare minimum, they would seemingly need to pay him the full nontaxpayer midlevel exception of $14.1 million; even if that contract didn’t require cap room, it would essentially nuke any cap-room scenarios for Detroit.
Fortunately, Detroit’s books are in a strong enough position that retaining Beasley should be fairly straightforward; the only question is deal length and player options. Would Beasley rather have a short deal with a player option to get more bread a year from now, or would he prefer the security of a longer deal?
Malik Beasley is having a season for the ages from 3. (Rick Osentoski / Imagn Images)
Moe Wagner and Orlando’s tight tax
The Magic have the full allotment of 15 players under contract for next season, have four draft picks this June and are $11 million over the projected tax line. All of that would make it seem unlikely that they would pick up Mo Wagner’s $11 million team option, especially since he’s out with a torn ACL.
However, all may not be as it appears. Wagner is a highly-valued player in Orlando, and not just because he’s the brother (and housemate!) of Magic star Franz Wagner; his injury more or less marked the turning point in the Magic’s season. (They were 18-12 at the time and 14-25 since.)
For one, the Magic have other options they can decline to get the roster down to reasonable size. Declining options on Gary Harris and little-used Cory Joseph and Caleb Houstan would put them under the projected tax (at least until the draft picks put them back over) and open enough roster breathing room to bring back Wagner. Also, because the Magic would retain Bird rights on him, a cheap one-year deal with a second-year player option could be a palatable option for both sides; he could have his “rehab year” then get paid off his work in the second half of the season when he returns.
Either way, declining the option seems like the only play for Orlando. The question is what the Magic can do to retain somebody they would prefer to keep amid a tricky cap environment and a roster that, once Paolo Banchero’s likely max extension hits in 2026, will become fairly expensive.
Lakers decline-and-sign pathway
This little trick is likely to come up in the case of several teams dancing the first-apron tightrope, most notably with the Lakers and Dorian Finney-Smith.
The idea is that L.A. can get Finney-Smith to decline his player option for $15.4 million for 2025-26 in return for re-signing on a longer deal for less money. The risk of overpaying on the back end of the deal (Finney-Smith turns 32 this summer) is offset by managing the immediate tax situation by shaving a few million off his 2025-26 cap number.
The motivation for L.A. would be to leave enough wiggle room under the first apron to either use its nontaxpayer midlevel exception to sign a real center or to trade for one. It’s a tight squeeze right now, even if the Lakers decline Shake Milton’s $3 million nonguaranteed deal. They might even consider stretching Maxi Kleber’s $11 million to generate the necessary space, especially since they’re running out of draft picks to put into trades to incentivize a deal. (I’ll also note this option exists for James as well; there is no rule requiring him to sign for the max, and he actually took a slight haircut on that amount last summer to keep L.A. below the second apron and allow it to aggregate salary in trades. That decision has worked out very well, based on recent events.)
The Minnesota Timberwolves could potentially go this route, too, with Julius Randle, who has a $31 million player option for next season with incentives that could raise the value. Locking in a lower number for Randle on a long-term deal might make it easier to keep Naz Reid in free agency and still make Minnesota’s tricky cap math work in future seasons.
And then there are the Rockets. Houston has a similar issue with Fred VanVleet, except it’s a team option instead of a player option, so the Rockets have a lot more control over the situation. VanVleet is due $44.9 million next season, one where the Rockets are likely to push into the tax. Things don’t get any easier in the future, as their talented young players need to be paid (most notably Amen Thompson in the summer of 2027), but 2025-26 is a squeeze point unless VanVleet’s cap number goes way down.
Thus, locking in VanVleet at a lower number for a longer tenure has a lot of advantages for Houston. However, there’s a case to be made that the Rockets could go the complete opposite route by opting to pay him the $44.9 million, in return for extending his contract at a much lower number in the out years. That concept trades a single year of pain in 2025-26 in return for making the salary structure more manageable in the out years when Houston’s other young players will be ready to get paid. It’s a fascinating puzzle for the Rockets with no clear answer, beyond the obvious one that Houston still very much needs to keep VanVleet one way or another.
Decline-and-sign, discount version
Finally, you may have noticed an unusual number of players this season were signed off two-way deals into two-year contracts with second-year team options.
There’s a reason for that: The teams can decline the option and, as non-Bird free agents, re-sign the player to a much longer four-year deal worth up to 20 percent over the minimum. Given the limited likelihood of a bidding war on players of this ilk (and the protection of restricted free agency, just in case), it’s a good way for teams to play their hands. This is particularly true for those teams that either don’t have access to their nontaxpayer midlevel exception or want to save it for potential use at the trade deadline.
This category includes several rookie two-way players who have since been promoted to roster deals, such as Oklahoma City’s Ajay Mitchell, Golden State’s Quinten Post, New York’s Ariel Hukporti and Philadelphia’s Justin Edwards. All are likely looking at summer “decline-and-sign” situations that end with them returning to their present teams on three- or four-year deals at or near the minimum. (One slight exception: Mitchell got $3 million out of the Thunder’s room exception money and thus can sign for a starting salary of as much as $3.6 million if the option is declined.)
(Top photo of Russell Westbrook: Katelyn Mulcahy / 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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