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Quality control coach? Pitching strategist? In MLB, title inflation is the new norm

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Quality control coach? Pitching strategist? In MLB, title inflation is the new norm

One day last month, while killing time in the visiting dugout at Kauffman Stadium, Cleveland Guardians manager Stephen Vogt was asked what he actually did in his previous role as the Seattle Mariners’ bullpen and quality control coach.

The first half of that label seemed obvious enough — bullpen coaches have been around in the majors for as long as anyone can remember. The other half? Vogt, after some explaining, broke into an impression of a television character from a show famed for sending up things like convoluted job titles.

“Quabity. Quabity assuance,” Vogt said, mimicking Creed Bratton, the eccentric and oft-forgetful quality assurance manager in “The Office.” “Why are they asking me so many questions?”

“The Office” gained prominence for its satirization of corporate culture, with its opaque job descriptions and jargon-y buzzwords. But in baseball, life is now imitating art — or at least imitating corporate America — when it comes to coaching titles.

Across the big leagues, the six-person coaching staff (bench, hitting, pitching, first base, third base, bullpen) is practically extinct. Teams have amassed legions of instructors bearing LinkedIn-friendly titles like strategist of performance and data integration (Miami Marlins), game planning and run prevention coach (Boston Red Sox), and major league field coordinator/director of defense, baserunning and strategy (Guardians). You can find just about any title in the sport, outside of assistant to the regional manager.

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On Opening Day this year, the ranks of the curiously labeled included three associate managers, three offensive coordinators, five quality control or quality assurance coaches, nine directors or assistant directors of various departments, and more than a dozen coaches with a reference to strategy or game planning in their designations.

The sheer volume and variety of nontraditional titles might feel a bit excessive. Yet, those on the inside say there are legitimate reasons for this proliferation.

“Initially, I was like, ‘Really?’ But now, not as much. Now, I kind of like it,” said Padres manager Mike Shildt, another former quality control coach. “Once you step back, you go, ‘Different doesn’t mean worse.’ … Because of more people and more information, now we can easily and rightfully justify a couple different people absorbing those roles.”

This season, all 30 organizations list double-digit coaches on their team websites. Some bullpen catchers are also billed as strategists, staff assistants or catching instructors. Still, as coaches have increasingly taken up real estate in media guides, their responsibilities often remain mysterious to the public.

So, what exactly did Vogt do for the Mariners in 2023 before he landed one of the most coveted positions in baseball?

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“I don’t know what other quality control coaches do, but for me, it was a title that essentially meant I was more than a bullpen coach,” said Vogt, now in his second season managing the Guardians. “I was in hitters’ meetings. I helped the catchers. My fear was that the hitting coaches would be (upset) that the bullpen coach is talking to a hitter, and vice versa.”

Amid the highly competitive environment of the big leagues, Vogt’s concern was not unfounded. In the past decade, however, the world of non-player personnel has moved not only toward greater specialization but also increased collaboration. Analytics and technology have flooded the sport. The prevalence of data necessitates more employees to help translate and communicate information.

“There’s so much work to be done in each area, so the manpower, you need to have it to keep up,” Kansas City Royals manager Matt Quatraro said.

Added Chicago Cubs bench coach Ryan Flaherty, a former big-league utility player: “I think things used to be so siloed. The person with ‘hitting’ worked with hitting, ‘pitching’ worked with pitching, and ‘infield’ worked with infield. And I think now, people just work in a lot of areas.

“I think the hard thing is trying to figure out what to call them.”

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As a quality control coach for the San Diego Padres in 2022, Flaherty assisted infield coach Bobby Dickerson with infield instruction and helped oversee offensive game planning. A year later, he was promoted to offensive coordinator, a role in which he continued to prepare San Diego’s hitters for opposing pitchers. “It wasn’t as much technique of hitting as it was understanding pitchers’ tendencies,” Flaherty said.

The bump reflected a trend within a trend — and illustrated a driving force in the modern era of coaching titles. “I think it’s a combo,” Shildt said. “People are trying to prevent people from getting poached, and people are poaching people with a title.”

That was the case in San Diego after the 2019 season. The Padres hired Dickerson away from the Philadelphia Phillies, technically elevating the veteran infield instructor to bench coach. Around the same time, they devised a new position with familiar duties. Skip Schumaker, who had long been viewed as a future manager, went from first base coach to associate manager.

“Nothing too scientific about it,” Padres president of baseball operations A.J. Preller said. “Ultimately, (Schumaker) was going to be somebody that was going to be really the 1A and the right-hand man to a manager, and somebody who could be developing to go on that track as well.”

Schumaker understood the maneuvering. “In order to get, in my opinion, one of the best infield coaches in baseball, I think they had to create another title for me,” said Schumaker, who went on to manage the Marlins from 2023 to 2024. “The responsibilities were the same as the bench coach. … I think it’s just a way to get guys on staff that you want.”

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Other teams have acted similarly. In late 2021, the Texas Rangers made Donnie Ecker their bench coach and the sport’s first offensive coordinator, luring him away from his hitting coach job with the San Francisco Giants. A year later, the Rangers hired then-Boston Red Sox bench coach Will Venable as associate manager. Before the 2024 season, and before he succeeded Schumaker as National League Manager of the Year, Pat Murphy appointed rookie coach Rickie Weeks Jr. as the Milwaukee Brewers’ associate manager.


Skip Schumaker went from first base coach to associate manager to, eventually, manager. (Brett Davis / USA Today)

Murphy’s staff still does not have a bench coach or, at least, anyone by that title.

When you’re fresh in the game and you want to manage someday, I think (naming Weeks associate manager) is an appropriate tack,” Murphy said.

Not all positions are crafted with future advancement or retention as a priority. The Arizona Diamondbacks might have opened a door to nontraditional labels before the 2017 season when they hired a decorated former big-league pitcher as the team’s pitching strategist. “I think we started it with Dan Haren, quite frankly,” Diamondbacks general manager Mike Hazen said.

How did Arizona come up with Haren’s professional moniker? “I don’t know,” Hazen said. “He works on our pitching strategy. I don’t know that we put a ton of thought into the title, honestly. We sort of built it backwards from job responsibilities.”

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At times, the title has come first. Shildt recalled that when he became one of baseball’s first quality control coaches in 2015, it was a position “that the (St. Louis Cardinals) created to get me to the big leagues. And even when I got it, there was still like, ‘Now what? What do we do with this?’”

Well before the arrival of the universal designated hitter, the Cardinals tasked Shildt with overseeing bunting instruction for the team’s pitchers. “Then it just started to materialize into more big-picture work, which now is more analytically driven,” Shildt said.

Trent Blank, the Seattle Mariners’ director of pitching strategy, can attest to that shift. A former minor leaguer with an interest in biomechanics, he joined the Mariners in 2018. “At that time, baseball was getting into technology, and we wanted to start a new frontier for the organization,” Blank said.

Now, Blank helps direct the Mariners’ application of technology and analytics, working with pitching coach Pete Woodworth before and during every big-league game. (Unlike Haren, Blank wears a uniform.) In the weeks leading up to each amateur draft, he aids the scouting department with data-based evaluations.

“I think I have one of the best jobs in baseball,” Blank said of his role as a strategist. “It seems like each team’s found their own way to kind of bend that title or those roles and responsibilities to fit what they need at the time.”

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Some clubs have taken the pursuit of organizational alignment to new heights. The Guardians, for instance, employ a hitting coach, two assistant hitting coaches, a major-league hitting analyst, a senior vice president of hitting, a vice president of hitting, an assistant director of hitting development, and a special assistant to player development/hitting. Last year, Jason Esposito had the title of run production coordinator. Now, he’s an assistant hitting coach. No one can explain the difference. Meanwhile, Kai Correa is the team’s major-league field coordinator and, in a newly created role, its director of defense, baserunning and game strategy.

“If you think about the old model, you’d have a major-league hitting coach that might not even ever talk to the minor-league coordinator, who might not be involved in what’s going on with the hitting coach there, so you can get very different messages,” Guardians president of baseball operations Chris Antonetti said. “We’ve worked to have organizational philosophies and programs that (reflect them).”

Like the Guardians, the Dodgers introduced a title to the coaching lexicon this season. Brandon McDaniel originally joined the organization as a minor-league strength and conditioning coach and eventually ascended to vice president of player performance. He made a more sudden leap in February when the Dodgers announced him as major-league development integration coach.

McDaniel, formerly a behind-the-scenes member of the franchise, is in uniform this season in the Dodgers’ dugout. (MLB regulations used to limit teams to a manager and eight coaches in the dugout during games, with an additional coach permitted when rosters expand in September. A league official said clubs now have more flexibility.) His presence there allows McDaniel to provide immediate input on workload management and facilitate communication between the front office and the coaching staff.

“I recognize that my path is probably extremely different than most people who are fortunate enough to put on a uniform,” said McDaniel, who described swapping ideas with manager Dave Roberts for multiple weeks before they settled on a title.

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“People could (say), like, ‘Oh, we made it up.’ But I think we really put some thought into what I was going to be doing every day. At the end of the day, it’s like supporting the coaches, to help develop the players.”

Said president of baseball operations Andrew Friedman: “It’s about making sure we’re covering our bases on every front.”

The current top dog in a copycat industry, the Dodgers, could soon inspire other teams to employ their own versions of McDaniel. With so many different titles and limited public advertisement of responsibilities, perhaps some clubs already have. McDaniel suggested that the coordination aspect of his new position is not dissimilar to that of Los Angeles Angels staff assistant and unofficial “director of fun” Tim Buss.

“I think major-league coaching is one of the big frontiers of the sport,” Hazen said. “The more that you can improve your good major-league players at the major-league level, it can be a separator.”

Still, balance remains important. Hazen said it can be difficult to keep manufacturing new titles “without overrating your staff.” Schumaker, now a senior advisor for the Rangers, warned against the potential complications of having a large number of coaches. “It’s a privilege to be in a major-league clubhouse,” Schumaker said, “and I feel like, throughout the last few years, that’s gotten away from certain clubs, trying to think too outside the box and having too many cooks in the kitchen.”

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Regarding the practice of assigning titles to poach coaches or protect against poaching, Murphy said: “There’s a lot of that. There’s no question. It probably needs to be looked at a little bit.”

This past offseason, after Murphy led the small-market Brewers to 92 wins and a playoff appearance, first base coach Quintin Berry left to become the Cubs’ third base coach. Run prevention coordinator Walker McKinven landed the Chicago White Sox’s bench coach job. Assistant pitching coach Jim Henderson interviewed to be the Diamondbacks’ pitching coach and “was close,” Murphy said.

“We encouraged all that and, truth be known, helped it happen,” Murphy said. “I believe in helping your guys, your staff, keep going. That’s what this game is about. If you’ve got an opportunity to move on, I think it’s awesome. If you’re keeping them from better opportunities, I don’t think that’s right.”

Henderson stayed in Milwaukee, where he was given an augmented position as the team’s assistant pitching and strategy coach. The strategy portion of the role includes pregame research of opposing lineups and in-game discussion with Murphy as different situations arise. The casual observer might assume it will make Henderson at least slightly more challenging to hire away.

That, according to Murphy, is not the goal. The Brewers did not replace McKinven, unless you count the expansion of Henderson’s duties.

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“We can replace everybody,” Murphy said. “We’re all replaceable. The game’s proven that.”

The Athletic’s Fabian Ardaya contributed to this story.

(Illustration: Dan Goldfarb / The Athletic; Photo: Kenta Harada / Getty Images)

Culture

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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