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NHL goalies are better than ever. What are the best scorers doing to regain an edge?

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NHL goalies are better than ever. What are the best scorers doing to regain an edge?

When it comes to stopping a scorer in a one-on-one situation, NHL goalies are better than they’ve ever been.

The league-wide save percentage has dipped in recent years — steadily declining from .910 in 2019-20 to .900 this season — as offensive strategies improve and shooters find ways to beat goalies with screens, deflections and backdoor plays. Beating a goaltender with a clean shot has become incredibly difficult.

Listen to the dressing room conversations after a team is shut out. You’ll hear players and coaches parrot the same reasons for the lack of goals.

“We needed more bodies in front of the net.”

“We didn’t get in the goalie’s eyes enough.”

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“Goalies are too good nowadays. If they see the shot, they stop it.”

To an extent, these commonly-used phrases are true. Modern goalies are such good skaters that they’re usually in excellent position, giving shooters very little net to shoot at. They’ve trained their entire lives, specializing in reading shots, so it takes something truly exceptional to get the puck past them when they have their feet set and clear vision of the shot.

In response, today’s elite scorers are finding ways to use these goalies’ reads against them. They pick up on the clues goalies are using to predict shot locations, and then give the netminder false information in an attempt to fool them. Being an elite scorer is becoming less about who can shoot the puck the hardest, or even the most accurately, and more about who can conceal their true intentions and mislead the opposition with deception.

We’ll look at specific examples of these subtle acts of deception, and why they’re so effective, by examining four of the league’s craftiest goal-scorers: Sidney Crosby, Nikita Kucherov, William Nylander and Kyle Connor.

First, it’s important to understand how goalies react to shots. The term “lightning-quick reflexes” is often overstated. Yes, these netminders have exceptional reaction time, but the human body has limitations. A study by Harvard University showed that the average human reaction time is 220 milliseconds, and the average recognition reaction time is 384 milliseconds.

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An 80-mph shot from the point (55 feet away from the net) reaches the goalie in less than 470 milliseconds. A shot of the same speed from the middle of the slot (20 feet away from the net) reaches the goalie in 170 milliseconds.

That means on most shots from in close, a goalie doesn’t have the time to actually see where the puck is being shot and then react to its flight. Most of the time, they are reading the shooter’s body language and stick blade to predict where the shot is going. After seeing thousands and thousands of shots over their lifetimes, goalies become incredible at it, giving the illusion that they’re actually reacting to the puck. The truth is, if a shooter simulated a shot without an actual puck, the goalie would still know where the “shot” was heading in most instances.

On this goal Crosby scored on March 11, he took the way Vegas Golden Knights goalie Ilya Samsonov read the blade of his stick and used it to his advantage.

Crosby is as crafty as they come, and has plenty of time and space on this play. The deception is so subtle that it’s difficult to notice without slow motion, but watch how Crosby opens his stick blade wide just before releasing the shot. Everything about this release tells Samsonov that Crosby is likely shooting high to the blocker side, but with a quick flick of the wrist, Crosby turns down the toe of his stick blade at the last moment and rifles a low shot just inside Samsonov’s left skate.

If you look closely, you can even see Samsonov’s blocker flinch to his right, where he anticipated the shot would go. The minor weight transfer that a goalie makes when leaning into a blocker save means that his opposite leg will typically be slower getting to the ice, which is why Crosby shot to the short side. It’s a simple-looking goal with a lot happening beneath the surface.

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Kucherov uses a similar form of deception, especially on breakaways. This goal he scored against the Penguins on Jan. 12 is a great example of a move he often uses to beat goalies in one-on-one situations.

Kucherov fans his stick blade open, very similar to Crosby in the previous clip, and doesn’t close the toe until midway through the release. Because the change is so late, he regularly leaves goalies flashing their blocker way out to their side, only for Kucherov to curl the puck inside, underneath their armpit, like he does to Tristan Jarry on this play.

The initial deke to pull the puck outside of his body is crucial because it gets the goalie off-angle. When Kucherov had the puck directly in front of him, Jarry was perfectly on angle with the line from the puck to the center of the net running straight through the middle of his chest. That quickly changed when Kucherov pulled the puck outside, giving an edge to the shooter.

You can see how much room there is to the short side after Kucherov pulls the puck outside, and it’s probably why goalies throw their blocker out so aggressively when he shoots. They can sense that they’re off the angle and expect the puck to go between their blocker and the post. Instead of shooting at that opening, Kucherov anticipates the goalie’s next move and shoots where the next opening will be.

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He’d pulled the same move the night before against Devils goalie Jacob Markstrom. Markstrom stabs his blocker out aggressively, only for Kucherov to tuck the puck inside it with his late toe curl.

Kucherov has mastered this trick to the point where it feels almost unfair to the goalie. It’s his go-to move on breakaways. Part of what makes it so effective is his speed. Few players approach these situations at the speed Kucherov does, which only makes it more difficult for the goalie to read him.

Here he is scoring on Columbus’ Elvis Merzlikins and Philadelphia’s Ivan Fedotov with the same move on March 4 and March 17. It’s no coincidence that every one of these goalies over-extends their blocker. Kucherov is baiting them into it with slight manipulation of his stick blade, combined with the fact that the deke gets the goalies off their angle.

There’s a reason Kucherov has outscored his expected goals metrics in nine of the last 10 seasons, according to Evolving-Hockey. Expected goals models are based on how often players score on a shot given the location and several other factors, but it doesn’t account for shooting skill, which Kucherov has in abundance.

Elite scorers use more than just the stick blade to mislead goalies. Maple Leafs star Nylander has been duping netminders with a kicking motion that he uses quite often. Here’s an example of him using a high kick with his trail leg on this overtime winner against the Devils on Jan. 16.

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This move isn’t unique to Nylander. It’s a standard off-leg shot with the left leg (in Nylander’s case because he’s right-handed) hiking into the air to gain leverage and add velocity to the snap shot. It’s a technique mostly used when skating in stride, because it allows for a quicker release, and more often than not it’s used on high shots, such as the one Nylander beat Markstrom with on this play.

Here’s where it starts to get tricky. Nylander has realized that goalies are reading the off-leg snap shots, and is now starting to turn that against them. On this goal – which also happened to come against New Jersey – Nylander kicks the leg up, but shoots the puck along the ice.

You can see Devils goalie Jake Allen react as if the shot is going high-glove. Not only does Nylander kick his leg, his follow-through is mimicking a high shot. If Allen had correctly read that it was going to be a low shot, he would’ve driven his knees into the ice and sealed his butterfly. Instead, he reaches his glove out and his left pad is late to seal, and that’s exactly where Nylander scores.

Up in Winnipeg, Connor is having another excellent season. He’s one of the most under-appreciated scorers in the league, with at least 30 goals in all eight of his full NHL seasons (excluding the shortened 2020-21 season, when he still almost hit the mark).

Connor’s biggest weapon is a ridiculously fast release that is tough for goalies to read. He uses a CCM Ribcor stick with a P92 “Sakic” curve, named after Avalanche Hall of Famer Joe Sakic. It’s the most iconic stick curve and the most popular among NHL players, with a bit of an open toe to promote higher shots.

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One of the biggest keys for Connor is the 85 flex in the stick shaft. It’s not the flimsiest stick in the NHL, but it’s on the more flexible side. That allows him to whip the puck at high velocity without putting a ton of weight or pressure into the stick. His upright shooting style gives goaltenders little warning that a shot is coming, and it regularly catches them off-guard.

He did it Monday night against Vancouver, casually zipping a shot by Canucks goalie Thatcher Demko in transition.

There’s very little shoulder dip or forward body lean prior to the shot, which makes it difficult for Demko to anticipate. It’s also a bit out of rhythm, which is a difficult concept to describe but makes a shot feel as though it’s coming out of nowhere for the goalie. In this instance, Connor shoots off of his outside (right) leg, which is typically accompanied by a lowering of the upper body as the player jumps from his inside to outside leg, building energy and leverage.

Demko has some of the best footwork of any goalie in the NHL, and yet Connor still catches him between shuffles. Shooting the puck just a half beat before the goalie expects it can make all the difference.

Connor also uses more obvious forms of deception to maximize his quick release and catch goalies off guard, like this no-look shot that tricked San Jose goalie Alexandar Georgiev on Dec. 17.

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Georgiev knows there are several passing threats on the backside of the play (both Cole Perfetti in the low slot and Mark Scheifele near the far post) so he’s already hyper-aware of a cross-seam pass. When Connor glances to the middle of the ice as he loads his stick for the shot, it clearly throws the goalie off. Georgiev doesn’t cheat positionally by flattening out along his goal line. He’s still square to the puck, but he shifts his weight onto his left leg to prepare for a lateral explosion across the crease in the event of a pass.

Because of that, when Connor shoots high to the short side, Georgiev makes an awkward looking stab at the puck with his glove without even dropping into the butterfly. The reason the save attempt looks so strange is Georgiev’s weight transfer is not where it would normally be due to the threat of the pass, amplified by Connor’s head fake.

With the skill and intelligence of the modern goaltender, shooters are relying more and more on deception. The days of winding up and ripping shots past the goalie with sheer velocity are long gone. Lateral passing plays, deflections and screens will still be the most efficient way to score, but when a shooter faces a goalie mano a mano, deception is king.

(Illustration: Will Tullos / The Athletic; Photos: Mark LoMoglio, Mark Blinch, Daniel Bartel, Jaylynn Nash / Getty Images)

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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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