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'Rafa, Rafa, Rafa': Encouragement and valediction at Nadal's last match in Madrid

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'Rafa, Rafa, Rafa': Encouragement and valediction at Nadal's last match in Madrid

Imagine having done the same thing for something like 30 years, being better at it than just about anyone who has ever lived, and then one day, it’s all completely new. 

And so it is for Rafael Nadal in this through-the-looking-glass spring. For years, no place felt more like home than a red clay court. He could lose matches sometimes. Everyone does. But he almost never played poorly.

He could leave his guts on the court with an effort that would leave most of the population unable to walk for weeks. Then he would wake up in the morning and, within a few hours, be able to start preparing to do it all over again. And then, sometimes, he really would do it all over again.

Those days are done, perhaps never to return. Nearly a year and a half since a debilitating hip injury, nearly a year since major surgery to try to fix it, nearly two years since he was a mainstay of the professional tour, each match, each day, has become an experiment and a riddle for Nadal. 

How much can he push? How long can he go? How does his body feel when he opens his eyes for the first time each morning, when he rolls out of bed, when he leans over to pick up his 18-month-old son, Rafa, when he walks onto the court for a warm-up session and strokes the ball for the first time? 

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The latest test came Tuesday night against Jiri Lehecka, the talented young Czech with the limber physique and easy power that Nadal, always the brutalist, never had. But nothing about the match really had anything to do with the contrasts he and Nadal presented, or really even the score. 

This was all about the latest of Nadal’s experiments.

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A little more than 24 hours before he and Lehecka took the court, Nadal had gone three sets and more than three hours against Pedro Cachin of Argentina. In both matches, the most important numbers on the scoreboard were counting the elapsed time. How many rolling backhands and bullwhip forehands could Nadal endure, or even want to endure, with his lodestar, the French Open, starting in 26 days.

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Nadal is balancing fitness and pride in his final season (Mateo Villalba/Getty Images)

The first set went 57 minutes, with Lehecka surviving three tight service holds and capitalizing on a cluster of Nadal errors in the 11th game to break, before serving out the set. Lehecka then broke Nadal’s serve in the first game of the second set. Nadal’s balls started to fly long and into the net without it bothering him all that much, and it was hard not to think of how he had described his game plan moving forward the night before, after his three-hour fist-fight with Cachin. 

“Trying without doing crazy things, but trying,” he said, which is what Lehecka’s 7-5, 6-4 win that lasted a little over two hours ultimately looked like.

A third set and another hour might have qualified as a crazy thing under the circumstances.

Cachin, a 29-year-old journeyman who knows his way around a clay court, had given Nadal as much as he could handle and more than anyone had expected, digging in for long fights for points, forcing him to scramble across the baseline. A few years ago, this would have been another day of certainty for Nadal: the clay, the winning, the looking ahead to the next match knowing — within a very small margin — what version of himself would take the court. 

Instead, he walked the corridors of the Caja Magica Monday night, shrugging his shoulders and shaking his head, and telling everyone who would listen that he had no idea what the future held. 

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“I never recovered too bad after tough matches, I think even at 36 years old or 35,” said Nadal, who is now nearly 38. “Today is a completely different story. It’s not only about injuries. First thing is injuries. Second thing is about… I never spent almost two years without playing tennis tournaments.”

Everyone knows what this is all about for Nadal — figuring out whether it’s going to be worth his while to put his name in the draw at the French Open, the tournament he has won 14 times, where his record at Roland Garros is a ridiculous 112-3. He’s not going to go merely for an ovation and a bouquet, or to gaze at the nine-foot statue of him outside Court Philippe Chatrier.

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He knows his tennis is there, but he will only go if he believes his body will be there, too. This is best-of-five-set tennis, on clay, and matches are affairs that generally last close to three hours, maybe longer. His serve in its current iteration, slowed by injuries to his midsection, isn’t allowing him to grab many quick and easy points. Nearly everything he gets, he has to earn the hard way. Late in the second set on Tuesday night, 40 per cent of Lehecka’s serves had gone unreturned, allowing him to speed through holds of serve already rendered tricky by the booms of “Rafa, Rafa, Rafa” about his ears every time he stood up to the line. Asked about how he dealt with them, the Czech world No 31 could only puff out his cheeks and say, “I don’t know.”

Nadal’s figure was six per cent.

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Nadal was ultimately unable to impose himself on Lehecka (Julian Finney/Getty Images)

He will have a day off between matches at the French Open, unlike the 24-hour turnaround from Cachin to Lehecka, but still, the past days in Madrid have brought his first experience in what feels like forever of the grind-recover-grind routine the sport demands. 

Ten days ago in Barcelona, he couldn’t do it, winning a match then essentially folding after losing the first set of a second. Had he pushed for more in that moment, he might have been back where he was in January, in a tuneup tournament in Brisbane ahead of the Australian Open. There, in his third match, he pushed too soon. He went to sleep with a tweak. In the morning, an MRI revealed it was a tear. Three months of recovery and many more moments of doubt ensued.

Maybe this was it? He could swing a racket, but anything close to trying to replicate the intensity of top-level competition was out of the question. Same with an intense three-hour training session. He just wasn’t strong enough. 

Madrid has been different. His strength is back, but it’s not chartable: he still doesn’t have any idea what will happen from one day to the next. 

“It’s unpredictable, that’s it, and you need to accept the unpredictable things today,” he said earlier this week. “I need to accept that.”

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In a sense, Nadal has been preparing for this moment for more than 20 years, ever since doctors detected a congenital defect in his foot that nearly derailed his career before it ever got started. He had to accept then an extremely uncertain future. Anything that followed was a kind of gift. 

The experience begat ‘Zen-Rafa,’ the player who years ago compared an opponent’s aces to the rain, something he had no control over and simply accepted. Now he was back where it all started and not just because he said Madrid is where he felt for the first time, back in 2003, that he could compete at the highest level.


Sure, Nadal would have preferred to win once again in this packed metal bandbox in front of 12,000 people who love him as they love little else. He is as big a sports hero as this country has ever produced, which Raul Gonzalez Blanco, the legendary Real Madrid and Spain striker, knows well. He was there watching against Cachin.

But Nadal knew he had already won by being able to answer the bell against Lehecka, something he could only hope he would be able to do when he closed his eyes the night before. Picking up some easy points on his serve marked another win. Those classic, loop-one-ball-then-crush-the-next-one combinations, the quick bends for the short-hop winners, the perfect slice volley when he followed his serve into the net midway through the second set — win, win, win. 

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The moment when he sprinted to the baseline from his chair, one game from defeat, and 12,000 people stood and roared, and the noise rattled all around the metal building — that may have been the biggest win of all. They did it again on match point, then chanted his name when he sprayed a final backhand wide on what is likely his final match in the city.


Madrid’s tribute to Nadal after his defeat (Julian Finney/Getty Images)

He described the night as “very positive in many senses, not only sporting but also emotionally.”

“It’s been a gift to spend 21 years here,” Nadal told the crowd during a celebration on the court after the match. “The emotions, of playing in Madrid, playing on this court, are going to stay with me forever.”

Still, as much as Nadal has accepted the uncertainty of the future and soaking up the love, he is also making plans. He is playing himself into form now, trying to pass tests with every match so he can dream of magic, not just at the French Open but after, too. 

The Olympic Games are at Roland Garros. He wants to at least play doubles there with Carlos Alcaraz, who is well on his way to taking over from Nadal in the Spanish tennis imagination. Last week he committed to play the Laver Cup, the Team Europe vs Team World competition that his friend and rival Roger Federer created. That’s in September. 

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Madrid brought four matches in six days. Assuming his body comes through all this, he will head to Rome for the Italian Open next week for another series of tests. Then comes the decision about the French Open.

That’s both imminent and a ways away. Nadal, who, in all his greatness has still somehow always managed to come off as a normalish guy, is day to day, as the saying goes — just as we all are.

(Top photo: Manuel Queimadelos/Quality Sport Images/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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