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Q&A: Rose Zhang on her TGL investment, the LPGA’s future and slow play

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Q&A: Rose Zhang on her TGL investment, the LPGA’s future and slow play

There are a lot of things to admire about Rose Zhang. Before turning pro two years ago, she was arguably the winningest amateur in the history of women’s golf. Now she’s competing on the LPGA and already has a pair of professional wins at age 21. Zhang is as poised as they get and her youth — combined with a swing that could make a robot look inconsistent — has allowed her to become one of the faces of the game’s Gen-Z movement.

Zhang is doing it all while attending Stanford University as a communications major, taking 22 credits this winter (she completes one 10-week quarter each year to balance school with the international LPGA schedule). As Zhang finishes her third-to-last quarter of classes en route to a 2027 graduation date, she caught up with The Athletic to talk about the state of the LPGA, her adjusted preseason game plan and her new foray into golf’s simulator experiment. Zhang is now a minority investor in The Bay Golf Club, TGL’s San Francisco team. According to TGL, active discussions are taking place with the LPGA to devise competitions that could integrate top female players. With virtual holes, players in a mixed event could all hit from the same tee boxes with the technology adjusting for appropriate distances. The prospect of that arrangement is certainly enticing, and Zhang, for one, is intrigued by it.

This conversation has been edited for clarity and length.

You’re the newest investor in TGL. How did that come about?

I’d heard about it on social media, but I never really thought about becoming an investor. My agency brought the opportunity to me. It’s low stakes for me because I’m not the one playing out there. It’s cool to be on the investing side of things, this is one of the first things I’ve invested in, in the golf world at least. The Bay Area has played a huge role in my life and career. I’m a student-athlete at Stanford, I play a lot of golf in the city of SF and being able to be a part of it in a more meaningful way was my first thought. To see other athletes like Steph Curry, Klay Thompson, Andre Iguodala involved makes it even more amazing. It’s going to be cool to watch the team on TV and say, “Oh, I have a little part in that!” Not really … but I do. I’m invested in it emotionally too.

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Have you watched much TGL?

I have, with the cool technology and the indoor facility it gives an energy that even non-golfers can enjoy. I think it’s a really good platform to expose different parts of the game, show people’s personalities, and have a little bit of fun. Some of my non-golf friends are like, “Oh, this thing is like a whole stadium and you’re playing golf indoors? What does that even mean?” You’ve got all these crazy lights — it basically turns into a show. It’s a good source of entertainment for those who aren’t exposed to it. You don’t get to see golfers’ personalities because we don’t talk. The entertaining side of all of this is that players are mic’d up and get to interact with fans and each other. People like to see competition and camaraderie but some kind of flare to each personality.

Should LPGA players be a part of TGL?

I think that’s a topic for discussion. That would definitely be very interesting. It brings a lot of variety with the format that it is — indoor golf, one vs. one or team vs. team. Having diversity really brings this sort of platform to life. I can definitely see the LPGA hopping on board with it, having specific players participate in a TGL event. I played “The Match” with Rory McIlroy, Lexi Thompson and Max Homa. It’s similar to that, but it’s inside and indoors so it’s fair play for everyone. I think a lot of people don’t understand, there are a lot of characters out there on the LPGA Tour. You’ve got a lot of people with personalities that are so suited for this type of format.

Who should TGL recruit from the LPGA?

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We’re talking about popular characters here. To start off, in my opinion, I’d love to see Meghan Khang hop on there. She knows how to talk, that’s for sure. Charley Hull is a world renowned name, it’d be really entertaining to see what she does. If you want really good players, you’ve got Lydia Ko, you’ve got Nelly Korda.


A highlight of Zhang’s 2024 was her appearance on a winning Solheim Cup team. (Gregory Shamus / Getty Images)

You made your season debut at the HGV Tournament of Champions and posted at T10 finish, but we know that was just a break from your winter studies at Stanford. How has your offseason been treating you?

It’s been a lot more academic than actual golf. I’m excited, I’m doing a lot of cool projects. I’m hosting an AJGA event. I’ve been focusing on school, hanging out with friends, and being with people I haven’t been able to hang out with in the last two years. It’s really nice to have some bonding time and just enjoy the offseason a little bit more. It’s a grind, given I’m still balancing academics and golf. But the grind honestly challenges me.

What classes are you taking this semester?

I’m taking a Politics of Algorithms, Deliberative Democracy and its Critics, a Hebrew Jewish Short Stories class, a Science Technology & Society class and a class called Sleep and Dreams. It’s a cognitive science class. You get bonus points if you fall asleep in lecture. You get woken up by a squirt gun.

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Did you intentionally decide to take a step back from golf and throw yourself into school this year?

Definitely. Especially with last year, I was able to balance golf and school, but my social life was deterred a little bit. I had a lot of difficulty in balancing myself and my health, physically. It was a little bit hard to navigate in that sense. This year I was a lot more intentional. I’m taking 22 units of classes. That’s a big load for any student. I essentially decided to finish my academics and prioritize that, and then when I could rest and recover that’s when I could spend time with people. Just be a little bit lower maintenance, so when I start playing at the end of March I’m not completely tired and wiped out from the last three months. It’s been a lot better. I personally wish to prepare the best way I can starting in March. With a super long season my priority is to rest a little bit more.

What have been some of those hiccups in your health?

Everything piled up on its own. I did a lot of intense practicing at school, and I had a lot of class as well. I also just went full speed into the season. I spread myself a little thin in practice and the way I was doing things. By the end of the year, I had this recurring thing with my wrist that started back in 2020, and it just came back. I don’t want it to remain chronic, so that’s a priority. I’m slowly starting to load my wrist again to make sure it’s strong. You can go to physical therapy and have the inflammation resolved, but to strengthen it or at least bring it back to its normal performance, you’ve going to need to do circuits that involve resistance and weight. That’ll get me where I want to be.

Do you have any mindset changes or goals you’ve hoping to make in 2025?

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The No. 1 thing that I have in mind — and I was talking to my entire team about it — is I just want to make sure I’m intentional with the things I’ve been doing and the schedule I curate with them. I want to stay accountable for balancing everything and actually do everything, for example. Making sure I’m going through workouts with my trainer, resting my body and relaxing it, giving myself times where I can work with my coach and practice efficiently. I created a schedule for myself, and I wish to just go with that. So when things happen on tour and there’s a lot going on, I have a plan to fall back on. Last year, I misdirected in the way I was preparing myself for events. So that’s the main priority this year. I’m not so worried about the results as much. If you’re able to plan the process and go with it, that’s when results come.

Do you find comfort in sticking to a process?

I find freedom in it. Once you know you’re on a trajectory that you curated, that’s when you have a little bit more agency to at least think about if you need to deviate plans. I was doing a little bit too much of going here, going there — not fulfilling my priorities.

You started using AimPoint this fall. Has it been helping you and what has the process been like learning it?

I started using it at The Annika, actually, and that week was my best putting week on tour to date. I feel very encouraged by it. Obviously, I still have to do some practice. I do believe that it’s helped me a lot, especially with my confidence. And the slow play thing — if you do it right, it doesn’t slow other people up. As long as you’re courteous, that’s the biggest thing.

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Zhang changed her putting routine late last year, switching to the AimPoint strategy. (Julio Aguilar / Getty Images)

Speaking of slow play, the LPGA released a new slow play policy. Do you think the tour has a slow play problem?

It’s definitely been voiced by a lot of players. We take a lot of time waiting, especially on par 5s and par 3s. It slows up your day, and it slows things for those who are watching. At the end of the day, I think it’s up to players to create their routine to allow them not to be the slow player out there. There are players who struggle with that, which I understand. I’m just glad the LPGA has this regulation for everyone to follow. I’m not really a fast player, but I get paranoid about being slow. I grew up playing junior golf on the AJGA, and you get these red cards when you’re slow.

The LPGA is on the hunt for a new commissioner. What should their top priorities be?

There’s a difficult balance in the business aspect of golf and the actual competitive world of golf, so I understand how challenging it is. The biggest thing I’d wish for the new commissioner to do is at least provide communication or at least clear communication for what they intend on doing, and what you wish to relay to the players. You have to grow the LPGA through engagement, through deals, through sponsorships. This requires a lot of EQ and requires a lot of intelligence in that sense. I’d say with that, the new commissioner really needs to embody those basic things that could really elevate the LPGA. It’s not easy. They have to have the players’ best interests too, which is a fine line to tackle. That’s why I say communication is super key. If the players understand where the business mind comes from, they may want to critique things but they’d also be OK with things if they at least have a voice that can tell them what’s going on. That’s the biggest thing.

Do you think the LPGA does enough to promote its stars?

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I don’t believe so. I speak for a lot of players who also believe that. The reason is, I think it takes characters to really showcase what the tour is about — to give people a story or something to engage with. The LPGA has been trying. I don’t think that it’s not happening. They’re in the process of creating more engagement for LPGA players to be exposed to the public. There are already characters on tour who are willing to fill those shoes. It’s honestly just the strategic side of things now. Exposing them to platforms, media and other people. A lot of players are already willing to do so. You need to have both ends of the stick. The player who is willing to put themselves out there, and a tour that is willing to push you out there. There are a lot of initiatives happening behind the scenes. I’m not discouraged by them not doing anything, it’s more so they just haven’t done much yet.

(Top photo: Cliff Hawkins / 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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