Culture
NHL trade matchmaker: Predicting where top targets go by the deadline, part 2
We are now exactly 10 weeks away from the NHL’s March 7 trade deadline.
That leaves enough runway for the needs of buyers and sellers to shift before the biggest decisions are made — or for buyers and sellers to switch places. But in a season where there’s already been plenty of trade action, it’s not too soon to try to find some fits between teams and players available on our latest NHL trade big board.
With that in mind, here’s part two of trade-board matchmaker.
GO DEEPER
NHL trade matchmaker: LeBrun and Johnston predict where top targets go by the deadline, part 1
Team: San Jose Sharks
Position: F
Shoots: L
Age: 32
Contract term: 2025 UFA
AAV: $5 million
LeBrun: Vegas Golden Knights
The 32-year-old Granlund leads the Sharks in scoring and is on pace for a career high in points. He’s meant a lot to San Jose off the ice, too, as far as his leadership and influence around the youngsters. He also likes it there. All of which is to say, it’s not a slam dunk he gets dealt before the deadline just because he’s a pending unrestricted free agent. The expectation is that Granlund’s agents, Todd Diamond and Mark Gandler, will have a discussion in the new year with Sharks general manager Mike Grier. But the team will need to balance any potential extension with the kind of offers it’ll get on the trade market, and there will certainly be some. Granlund’s versatility of being able to play all three forward positions with comfort will appeal to contenders. He may also augment his trade value depending on his performance under the spotlight playing for Finland in the 4 Nations Face-Off in February. Looking into my matchmaker crystal ball, let’s make him a Vegas Golden Knight. The Sharks and Knights got together on a trade deadline deal a year ago involving Tomas Hertl. Keeping in mind Granlund’s versatility and the unfortunate reality of always being concerned about Mark Stone’s health, I like the idea for Vegas of adding this kind of depth.
Johnston: Minnesota Wild
A lot of water has passed under the bridge since Granlund was a first-round pick by the Wild who spent seven seasons playing for the organization. Still, wouldn’t it be a nice homecoming story? Minnesota could really use a forward who can toggle between center and wing while chipping in with some offense. Granlund ticks all of those boxes and should come with an added level of comfort given his familiarity with the organization. The cap aspect will need to be worked out since San Jose doesn’t have any retention spots still open and Minnesota has some added challenges while operating in long-term injured reserve, but those aren’t big enough hurdles to keep this from happening.
Team: Philadelphia Flyers
Position: D
Shoots: R
Age: 30
Contract term: 2027 UFA
AAV: $5.1 million
LeBrun: Winnipeg Jets
It wasn’t too long ago that Ristolainen’s contract scared teams, but it’s funny what happens with a 20-minute-a-night, top-four defenseman finds his game more consistently, as he has this season. Suddenly, with the salary cap going up, a $5.1 million cap hit for the next two and a half years isn’t so bad at all. That’s why league sources say the Flyers have indeed received calls this season asking if they would be willing to move Ristolainen. The answer from the Flyers is yes — if there’s a certain price met. They would want a good prospect or young player in return or a combination of a prospect and a pick. And while trading for a player with term on his contract isn’t your typical deadline deal since most contenders prefer rentals, I can see it appealing to a few teams. For example, the Jets. I’d like to see the Jets add the kind of size on the right side of their defense that Ristolainen would bring. And after giving up a first-round pick last season for rental Sean Monahan only to see him leave July 1, and keeping in mind how difficult it is for the Jets to attract free agents to Winnipeg, I like the idea of acquiring a player under contract. So there you have it, I’ve got the Cup-contending Jets taking on Ristolainen.
Could Rasmus Ristolainen end up in the Central Division? (Emilee Chinn / Getty Images)
Johnston: Dallas Stars
The Stars made a big splash by acquiring Chris Tanev ahead of last year’s deadline but were unable to retain him in free agency over the summer. They haven’t yet filled that hole on the right side of their blue line. The term remaining on Ristolainen’s contract fits in with the Stars’ win-now window, and the improvements in his game should hold appeal given how few defensive stoppers are expected to be available in the marketplace. Depth is essential for any team gearing up for a long spring, and Dallas is all in on trying to win the Stanley Cup.
Team: Chicago Blackhawks
Position: F
Shoots: L
Age: 33
Contract term: 2025 UFA
AAV: $6 million
LeBrun: Utah HC
The Blackhawks actually haven’t committed yet to trading Hall, although given where they are in the standings, one would imagine that’s the most logical course of action for the veteran pending unrestricted free agent. It hasn’t been the best of seasons for the 33-year-old winger, but something tells me that a move to a Cup contender might ignite a little flash from the former Hart Trophy winner. He’s always been one of the smartest players in the league. The hockey IQ hasn’t dulled even if the skating has slowed down a little. If the Hawks are willing to eat some of Hall’s $6 million cap hit, there’s no question in my mind there will be a market for him. Hall has a modified no-trade clause, so his agent, Darren Ferris, could have a role in helping the Hawks find a suitor. So hear me out here: Utah HC as a buyer! This is only realistic in a world in which Utah stays in the race in the second half. They could use a little more offense. Hall has some brand-name cache that would be fun to bring into the NHL’s newest market, and Utah has plenty of cap room, plus a strong desire to stay in the playoff chase.
Johnston: Colorado Avalanche
The Avs are one of the few top teams who could make room for Hall in their top six, which is likely where a player with his skill set needs to play in order to be most effective. The continued uncertainty around Colorado captain Gabriel Landeskog, who has gone more than two and a half years without playing while recovering from a cartilage transplant in his right knee, makes the need for another left winger more pronounced. Hall may not skate at the same level as earlier in his career, but he’s still faster than average and could hold his own alongside Nathan MacKinnon in top-line duty if needed. At minimum, he would give the Avalanche more lineup flexibility than they enjoy now. The acquisition cost also shouldn’t be too significant for a veteran player unlikely to be part of the long-term solution for the rebuilding Blackhawks.
Will Borgen
Team: New York Rangers
Position: D
Shoots: R
Age: 28
Contract term: 2025 UFA
AAV: $2.7 million
LeBrun: Florida Panthers
The Rangers just acquired Borgen, but he’s a pending unrestricted free agent and unless New York can somehow stop the bleeding and turn around its season, the Blueshirts will be sellers and open to flipping him. The 6-foot-3, 204-pound Borgen would fit nicely in South Florida. I think in many ways, pending unrestricted free agent David Savard is a more obvious fit for the Panthers given his past relationship in Columbus with Panthers general manager Bill Zito, and it wouldn’t surprise me if Florida tried for Savard if it’s looking for a rental, right-shot D with some physicality who won’t break the bank. But Borgen would be the more under-the-radar move if indeed the Rangers decide to make him available.
Will Borgen, right, has only played three games for the Rangers, but he could be on the move again. (Wendell Cruz / Imagn Images)
Johnston: Vancouver Canucks
The Canucks have struggled since losing Filip Hronek to a significant lower-body injury earlier this month, and they’re not expecting him to play again before February. That’s exposed a gaping need on the right side of the blue line that management has aggressively been trying to address. Enter Borgen, who excels in the less-celebrated parts of the game like penalty killing, which Vancouver can certainly use. The stay-at-home defender is a good skater who should be able to step into a second pairing on a team and brings the kind of size teams view as an added plus come playoff time. Borgen will have plenty of suitors ahead of the deadline, but there may not be anyone more motivated to pursue him than Vancouver.
Team: Seattle Kraken
Position: F
Shoots: L
Age: 32
Contract term: 2025 UFA
AAV: $3.5 million
LeBrun: New Jersey Devils
All signs point to the pending unrestricted free agent winger getting dealt ahead of the deadline if the Kraken aren’t in the playoff chase, which seems rather likely as of now. My understanding is there are several contenders waiting to see if/when Tanev is on the market because they want a crack at him. He brings the kind of grindy game most playoff teams are looking for. He’s an excellent penalty killer who leads Seattle in shorthanded ice time. He won’t back down from anyone. I like the Devils as a fit. They’re looking for a bottom-six boost, and I can picture Tanev finding a nice spot in that Cup-contending lineup that has no shortage of offensive talent but could use a little more sandpaper.
Johnston: Vegas Golden Knights
Vegas went into the NHL’s holiday break with the league’s best points percentage, and there’s a strong expectation it’ll be looking to beef up before the deadline yet again. In fact, it wouldn’t be a surprise to see the Golden Knights pursue two forwards – one with more offensive ability, and a bottom-sixer to round out other elements of the team. Tanev falls into the latter category and may end up being the strongest player with that skill set available. A high-end skater who plays the game hard, it’s not difficult to imagine him fitting in with a team accustomed to using all four lines to win.
(Photo of Mikael Granlund and Brandon Tanev: Eric Hartline / USA Today and Alika Jenner / 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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