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Nebraska’s Jahmal Banks used his family hardship to find purpose

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Nebraska’s Jahmal Banks used his family hardship to find purpose

LINCOLN, Neb. — Before her first night on the streets, Jahmal Banks’ mother picked a family from their community of support for him to live alongside. Evicted from her Maryland home, Kristie Martin pleaded with him to leave her. It would be temporary, she said.

She promised Jahmal, a student at the private Landon School in Bethesda, that she would see him daily. She wanted to ensure his clothes were ironed before Jahmal walked into the classroom every morning 12 years ago. She wanted to know he’d eat a meal each night and that he had access to a table suitable for homework.

He said no.

“I told my mom, ‘I’m going wherever you go,’” Jahmal said.

He told her he wished he could feel her pain and take it away.

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Kristie, Jahmal and his two young sisters, Jasmin and Zuri, were left homeless in the wake of Kristie’s divorce from Jahmal’s stepfather. The marriage fell apart under unhealthy conditions, she said.

“It was spiritual, monetary, emotional and psychological,” Kristie said. “I didn’t get my eyes black or my teeth knocked out. When you’re hit, it can heal. For three years after that separation, I shut down from the world. What kept me going was my children. They are my joy. They are my four heartbeats.

“I lost everything. But I chose my children.”

Kristie’s oldest, Kyerra Martin, at the time, attended Bowie State in Maryland on an athletic scholarship, playing volleyball and softball. The rest of them, on that awful day, sat in Kristie’s Chevy Tahoe as she cried for 30 minutes.

Before her divorce, Kristie said she had three months of mortgage payments in the bank. A longtime paramedic, she was decorated for her skills in response to trauma.

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But in this moment, Kristie said, she lost herself.

“I didn’t know what to do,” she said. “I lost my control. I was so structured. I never thought I would have to sample bread and not know where I was going to lay my head.”

The first night, a friend took them in. Over several months that followed, Kristie and her three kids moved between hotels and a shelter around Washington, D.C. They witnessed the aftermath of a murder. She lost her steady job, Kristie said, to work at Safeway and Macy’s so she could accommodate the kids’ schedules from a displaced home.

At times, Kristie said she had to choose between buying gas and food.

Perseverance, she said, allowed Kristie to regain her footing.

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“God placed certain people around us at certain times,” she said. “But it was a fight every day. I found strength that I didn’t know I had.”

Through that period, Kristie and her kids also saw the best in people. People who offered them a place to sleep. Or bought their meal unexpectedly at a restaurant.

It shaped Jahmal, who turns 23 next month. In his first season as a wide receiver at Nebraska, he fits as a team leader and one of the top targets of freshman quarterback Dylan Raiola. A Wake Forest transfer who caught 101 passes in the ACC over the past two years, Banks was the only offensive player at Nebraska in August to receive a single-digit jersey — awarded by a vote of players to their 10 toughest teammates.

“Tough” hardly begins to describe him.

“Jahmal is an anomaly,” Kristie Martin said. “Not because he’s my son. You don’t meet a kid like that maybe once every 15 to 20 years. He’s been through so much — and with no father. We have beat so many statistics. And for him to be academically and athletically inclined how he is, that gives me strength.”

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Kristie Martin (left) has attended each of Jahmal Banks’ (right) games at Nebraska this season. (Photo courtesy of Kristie Martin)

You won’t get an argument about Banks from Matt Rhule. After Rhule’s first team at Nebraska finished 5-7 and lost several key players, the coach plotted to build on the backs of the departed leaders.

He hoped his second team would pick up where the first group left off and set a new standard in the offseason. Rhule did not expect, though, that a newcomer would walk in and raise the bar.

Banks set an example in training. But his primary impact came away from the workouts and the weight room.

“He’s one of the first guys I’ve ever seen — like, some guys say it — but he is here to affect other people,” Rhule said. “There’s not a day that I’m not blown away by his impact on people.

“He is an amazing, amazing person.”

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Banks led Nebraska players in offseason community service hours, a number that’s tracked and rewarded with points to create a competitive environment within the team. He scored more in a single offseason than any player that Rhule has coached at Temple, Baylor or Nebraska.

“He came here to help change our culture,” Rhule said.

It’s not just that Banks wanted to change the Huskers, he said. This is who he is.

Even for deeds that don’t score him points and may go unnoticed by teammates and coaches, Banks is all in. Recently, he bought the food ordered by a group of people in line behind him at Chipotle.

Why?

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When his mother and sisters felt pain, Jahmal said he kept his feelings inside.

“He wanted to make sure we were good,” his sister Kyerra said. “That was just Jahmal.”

For him, an internal struggle ensued.

“At the end of the day, I had to face myself and face what I was dealing with,” he said. “In turn, I developed a purpose to make an impact in the world — just wanting to do more for my family, wanting to be someone that they could count on to be there for them and to provide.”

Jahmal said he found purpose and the key to his identity at First Baptist Church in Northwest D.C. There, he developed a giving spirit that extends beyond his family.

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It shines through in his first season at Nebraska. Like when he buys food for unsuspecting strangers.

Presented with opportunities to help people, Banks does not hesitate to bring full circle his experience from difficult times of his childhood.

“My son gives so much,” Kristie Martin said.

He grabbed a 21-yard touchdown pass in the first half of his Nebraska debut. Since, he has endured a quiet stretch. Through three games, he’s caught seven balls for 76 yards.

But the Huskers are 3-0 and ranked No. 22 as they prepare to face Illinois on Friday night in the Big Ten opener for both programs.

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“It’s perfect,” he said, “because I’m process-driven, not results-driven. I make it all about us. I just continue to enjoy the journey. It’s a battle all the time, but you’ve gotta just fall in love with the process.”



Jahmal Banks transferred to Nebraska from Wake Forest in the offseason. (Photo courtesy of Nebraska Athletics)

Jahmal played the trumpet for several years and competed in lacrosse, basketball and football. In high school at Bishop O’Connell in Arlington, Virginia, he emerged as an elite prospect on the gridiron. Banks transferred as a senior to St. Frances Academy in Baltimore to play against top competition nationally.

Ivy League offers poured in. His mother wanted him to attend Penn. Jahmal was drawn to the lights of major-conference programs.

“For her, it was not the four-year plan,” Banks said. “It was the 40-year plan.”

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They found a compromise in Wake Forest, a smaller, private school in a major conference. He sought a change after last season and expressed concern to Kristie that “there was no guarantee” as he looked at Nebraska, Wisconsin and Purdue.

“You’re the guarantee,” Kristie told Jahmal.

When Kristie met Rhule on their visit to Lincoln last winter, she said she “felt the passion” in him.

“Oh, my God, it was so different,” she said. “I knew that this was where he’s supposed to be. I felt like (Rhule) said what he meant and he was going to show me.”

Jahmal wasn’t about to start doubting his mother then.

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“She gave, saved and changed my life,” Jahmal said. “You can look back, and in another timeline, Jahmal isn’t here. But in the timeline that was supposed to happen, he is here because of what she sacrificed.”

He has written, performed and released music about his life experiences.

He often ponders the turbulent road his family traveled.

“That’s in my mind,” Jahmal said. “I think about my sisters. I look back, and what I really want is not about money. It’s not fame. It’s about healing.”

Kristie has attended each of the Huskers’ three games at Memorial Stadium. She works again in the medical field and must miss the Friday game this week. She’ll be on site for the rest of them, along with various family members.

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Meanwhile, Kyerra coaches volleyball at DuVal High School in Lanham, Maryland, and plays tackle football for the D.C. Divas as part of the Women’s Football Alliance.

She said she credits Jahmal as the inspiration for bid to compete in the sport.

Jasmin attends Maryland to study pre-law. Zuri, in high school, wants to become a veterinarian.

“I told Jahmal he’s my role model,” Kyerra said. “There’s a lot going on in this world, but it was embedded in us to help others in need. Jahmal is always the one who’s thoughtful before the thought comes out.”

(Top photo courtesy of Nebraska Athletics)

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

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

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Whatever you do, don’t think of a bird.

Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?

Before you answer, read this poem, which is quite literally about not thinking of a bird.

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Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.

Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.

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Wallace Stevens in 1950.

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Walter Sanders/The LIFE Picture Collection, via Shutterstock

As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.

Are those worlds real?

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Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.

Until then, we find consolation in fangles.

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

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Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

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But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

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It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

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and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

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So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

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I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

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Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

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We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

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did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

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“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

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I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

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and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

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When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

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And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

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It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

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Do You Know the Comics That Inspired These TV Adventures?

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Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

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