Culture
NFL QB stock report, Week 11: Caleb Williams’ flaws have followed him from college
The Chicago Bears’ midseason offensive regression has raised concerns over Caleb Williams’ long-term viability as a franchise quarterback.
It’s important to be measured with this assessment, especially for Bears fans who have seen this movie a few times before. First, it’s fair to be critical of Williams’ recent flaws. Second, it’s also fair to point out that the struggles are not entirely Williams’ fault. And third, let’s not be hasty in burying a 22-year-old with nine career starts.
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Williams has taken a league-high 38 sacks in part because he’s holding the ball too long and failing to trust his reads. But there have also been predictable issues with the offensive line, along with flaws in play designs (route spacing and timing) and play calls. Williams’ 15 sacks over the past two games are more than three teams have allowed all season — the most obvious sign of diminished confidence.
“He is doing the same things he did in college in terms of holding the ball and being inconsistent with his reads,” a rival executive said. “He could get away with running around, throwing the ball up for grabs, throwing across his body, and he had some success doing that. You don’t get away with that at the NFL level too often. I’m a little surprised they haven’t been able to clean some of this up.”
Another executive corroborated that evaluation.
“Their ability to protect him was going to be the question,” the second executive said. “He always held the ball too long, so you have to minimize pure dropback situations and support him with a run game, which improves the impact of your RPO, QB movement and play action.”
The Athletic’s Week 11 QB rankings
Williams was a magician at USC, drumming up comparisons to Patrick Mahomes with his off-schedule playmaking ability, and some of that has been on display with the Bears. Problematically, however, Williams seems to be relying too much on the improvisational stuff. It’s common for young quarterbacks to revert to their most comfortable tendencies when the pressure ratchets up, and that’s led to some of Williams’ problems.
99 + 41 = the 5th Pats sack today ‼️
📺: FOX pic.twitter.com/ppqt8toDbk
— New England Patriots (@Patriots) November 10, 2024
To combat that, the Bears need to proactively find ways to make Williams comfortable before things naturally become tense. The goal is to help him play without overthinking, to anticipate the throws rather than waiting to see the routes develop and to keep the offense on schedule.
That’s easier said than done, of course.
“It’s really tough, probably one of the most difficult things to do especially with a guy like that who is so used to holding it and running around to extend plays,” an offensive coach said. “It’s just repetition and emphasis. And at some point, it has to click. There’s really no easy way. It’s a process.
“They need to run some stuff that he’s comfortable with as well and give him some opportunities to extend things. It’s a huge challenge, regardless.”
The coach chalked it up primarily as “typical rookie” struggles with the timing and confidence in his reads, although the Bears’ offensive scheme needs improvement. Bears coach Matt Eberflus said Monday the team is evaluating whether offensive coordinator Shane Waldron will remain in his role as the play caller.
The defense was buzzing yesterday.@MikeDussault19 highlights the key contributors on the defensive side: https://t.co/TaT3E6RuXA pic.twitter.com/q9fL97HvpU
— New England Patriots (@Patriots) November 11, 2024
Williams’ issues have been magnified by another factor. The Bears’ three-game losing streak has included games against rookies Jayden Daniels and Drake Maye, both of whom have played very well and remain on an upward trajectory.
“The expectations on him were so high,” the coach said. “No way he was going to be able to match those.”
It’s enough for Bears fans to have flashbacks of Mitch Trubisky and Justin Fields, highly drafted QBs who didn’t pan out because of poor evaluations or bad overall situations. Williams has the talent, but it’s on the organization to fully cultivate it.
They were on the right track for a while, improving to 4-2 after posting 71 points in back-to-back wins against the Panthers and Jaguars, but the team — and the offense in particular — has been flat since Daniels beat them with a Hail Mary in Week 8. The lull has exposed issues that extend beyond the rookie quarterback.
Williams’ exciting flashes suggest enough talent exists for him to still grow into a bona fide franchise quarterback. He was the consensus No. 1 pick before the draft for a litany of reasons, so the Bears’ evaluation holds up.
But they’ve got to keep working with Williams to ensure it works out the way they envisioned.
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Hey, Darnold
Sam Darnold is delivering the best season of his career, as coach Kevin O’Connell has tapped into the potential that made the QB the No. 3 pick in 2018. In all likelihood, Darnold has been productive enough that he’ll be the top quarterback in free agency, which means a monster contract should be in his future.
However, Darnold endured the type of performance Sunday against the Jaguars that will fuel skepticism as the Vikings gear up for the playoffs. He was 24-of-38 for 241 yards passing with no touchdowns and three interceptions.
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The three picks were egregious. The first was just outside the red zone, while the other pair happened in the end zone. Darnold was targeting wideout Justin Jefferson on all three.
Darnold simply needs to play within himself to be successful. The Vikings have an outstanding defense, stars at the skill positions, a complementary running game and a high-level, QB-friendly scheme.
Darnell Savage brings in our third INT of the day!@darnellsavage_ | #MINvsJAX on FOX pic.twitter.com/Ch7HAtKn2h
— Jacksonville Jaguars (@Jaguars) November 10, 2024
The 27-year-old merely has to make the plays that are available to him and stay safe with the ball. His accuracy was erratic throughout the 12-7 victory in Jacksonville, and all three interceptions took points off the board.
Worse, this was against a woeful Jaguars defense that entered the game ranked third worst in points allowed and second worst in both total yards and passing yards. They had two — yes, two — interceptions all season and allowed at least 28 points in five of their previous seven games.
Maybe it was just a bad day. Everyone has them. Tom Brady had three interceptions in nine games.
But if the Vikings are going to make any noise in the playoffs against much tougher defenses than the Jaguars, Darnold has to be much better and prove this was a fluke. If that happens, he’ll land a life-changing contract in the offseason.
Ripple effects in Jacksonville
The Jaguars have lost 13 of their last 16 games, and Trevor Lawrence was regressing before the left shoulder injury that kept him out Sunday. And the defense has gotten worse after head coach Doug Pederson made some offseason staff firings, which is a combination of factors that generally results in further change.
If the Jaguars are in the coaching market after the season, a couple of rival executives agreed Jacksonville could be a prime spot.
“You get to work with Trevor and try to help him put it all back together,” one of the executives said. “He hasn’t been great, but I still think he has all the tools to be a good quarterback. That’s going to be a job people should want.”
Lawrence signed a five-year, $275 million contract before training camp, but his numbers have trended in the wrong direction for the second season in a row. There have been issues with the Jaguars’ ground game and a myriad of mistakes littered throughout the offense, including drops and penalties that have plagued the group for the better part of two years.
The point is, Lawrence shouldn’t be shouldering so much of the blame. It would be a chore for any quarterback to play well in that situation. And there’s no denying how well he played in 2022, along with how much the Jaguars continuously rallied around him from late deficits.
No, Lawrence hasn’t lived up to the pre-draft hype as a generational type of quarterback, but no one can do it alone. If the Jaguars improve the operation around him, they’ll maximize the return on investment.
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Short term, if Lawrence continues to miss time, this presents an intriguing opportunity for Mac Jones. He didn’t play well against the Vikings, but Minnesota defensive coordinator Brian Flores has made life hell for Brock Purdy, C.J. Stroud, Jordan Love and Aaron Rodgers this season. You’ll have to excuse Jones for a pedestrian outing in his first start with a new team in the 10th game of the season.
Problematically for Jones, though, the Jaguars visit the Lions this week and then come out of their bye against the Texans. That’s a grueling stretch for the former first-round pick who is hoping to use this as an audition for next season.
Jones could capitalize if Lawrence’s absence lasts longer, as the Jags close the season with the Titans, Jets, Raiders, Titans and Colts. If Jones can put together some good tape, he could work his way into a camp competition against a young QB, similar to the way Baker Mayfield, Geno Smith and Darnold have recently revived their careers. Otherwise, Jones will likely remain on the backup circuit for a while longer.
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(Photo of Caleb Williams: Christian Petersen / Getty Images)
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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