Culture
Saquon Barkley’s 3 TDs power Eagles to ‘sloppy’ win over Packers in Brazil
SÃO PAULO — “It was sloppy,” DeVonta Smith said. And he wasn’t talking about caipirinha cocktails. He wasn’t talking about field conditions in a soccer venue in the first-ever NFL game in South America. No, the wide receiver was stating what was visible as the Philadelphia Eagles debuted their revamped system under offensive coordinator Kellen Moore.
“It was sloppy,” Smith repeated. “But we responded well.”
Indeed, they did. They’re 1-0 after their 34-29 victory over the Green Bay Packers at Arena Corinthians; despite Cam Jurgens snapping the ball to Jalen Hurts when the quarterback wasn’t ready; despite Hurts twice forcing the football into heavy coverage on passes that resulted in picks (one in the end zone); despite Jurgens and Hurts mishandling a last-minute “Brotherly Shove” snap that, instead of securing certain victory, preceded a field goal that gave the Green Bay Packers one last attempt at a possible comeback.
“We’re working out kinks,” said Jurgens, who took ownership of both fumbles. “When you can work things out and still get a win, it’s a good feeling.”
Saquon Barkley saved their pigskin. He jumped on that final fumbled snap. He accounted for three of Philadelphia’s four touchdowns. He logged 109 yards on 24 carries and two scores, plus two catches, including an 18-yard touchdown on a well-timed wheel route. He made general manager Howie Roseman quite happy that he set a franchise record in per-year spending on running backs by signing Barkley to a three-year, $37.75 million deal in the offseason.
Saquon Freaking Barkley#FlyEaglesFly pic.twitter.com/ZdXg8tLqB0
— Philadelphia Eagles (@Eagles) September 7, 2024
“He had a hell of a game tonight,” Hurts said. “I’m happy that he’s on our side.”
The Eagles haven’t wielded a weapon quite like Barkley since LeSean McCoy. As sufficient as D’Andre Swift and Miles Sanders were in Philadelphia’s backfield the last two seasons, neither running back possessed the start-stop speed or the burst that busted Barkley deep beyond the Packers defense on an 11-yard touchdown run and a 34-yard scamper into the open field.
At last, he had blocking. Barkley, who averaged 1.35 yards before contact in six years with the New York Giants, according to TruMedia, said in training camp that he chose to sign with the Eagles partly due to Philadelphia’s formidable offensive line. There, on that 11-yard score, was a colossal chasm between Jurgens and right guard Mekhi Becton. Barkley made one sudden cut, and the Eagles suddenly led 14-12 with 5:38 left in the first half.
“They did a really good job of just setting up for me,” Barkley said. “I just try to stick to my rules. That’s my big thing to share is, you know, sometimes I can tend to try to do too much. And I don’t have to have that mentality, but I let (the offensive line) work. And when it’s time to do extra stuff, I’ll be ready for that too.”
Speaking of “extra stuff,” Moore wasn’t restricted from deploying the pre-snap motions that’d been part of his philosophy. Eagles coach Nick Sirianni, whose 2023 system was the most stagnant in the NFL, had said earlier this week that “no one really knows what we’re going to do.” By my count, the Eagles used pre-snap motion on 47.3 percent of their plays against the Packers.
That included Dallas Goedert motioning left into a swing pass in which Goedert gained 1 yard. That included Britain Covey switching from wide right to wide left and Hurts hitting Goedert for a 4-yard gain in the space Covey once filled. That included A.J. Brown quickly stepping from the slot to just beyond Goedert, matching Brown against Jaire Alexander. Brown’s double move — outside, inside — left him open along the sideline. Hurts struck Brown in stride, and the receiver weaved past the Packers’ secondary for a 67-yard score.
Brown’s 23.8 yards per reception (five catches, 119 yards) were his highest average since Week 16 of the 2022 regular season. Hurts managed to find Brown in crucial third-down situations in which he faced a heavy rush. On third-and-8 on Philadelphia’s fourth drive (Barkley’s first rushing touchdown), Hurts zipped the ball to Brown for a 20-yard conversion just before getting demolished by a defender. Hurts was 6-of-7 passing for 91 yards and his 18-yard touchdown to Barkley while facing the Packers blitz, according to TruMedia.
It was a promising sign for a system in which Hurts is handling more of the pre-snap protection calls and designations for which a receiver is “hot” against the blitz. Hurts was sacked twice. The second he seemed to draw himself just before halftime, which limited a promising two-minute drive to yielding only a 38-yard Jake Elliott field goal and a 19-17 deficit to the Packers at the break.
“I thought pass protection was pretty good today,” Jurgens said. “I thought we did a good job. We’ll watch film, see how it was. But it felt good out there. We’ve got some weapons on the outside. I think we really used them today and played really well.”
Sloppiness stemmed to the Eagles defense, too.
Sirianni fired former defensive coordinator Sean Desai partly because his system surrendered the NFL’s second-most passing yards in 2023. The Eagles thought they’d improve the defense by hiring the system’s creator, Vic Fangio. But there were moments when it wasn’t clear there’d been any change at all. Jordan Love, who completed 17-of-34 passes for 260 yards, two touchdowns and an interception, exploited an apparent coverage bust by striking Jayden Reed for a 70-yard touchdown to seize their halftime lead. Safety C.J. Gardner-Johnson, signed in free agency to improve the back end, missed a tackle that could’ve saved the score.
Apparently, Gardner-Johnson caught some heat from the fan base by the time he returned to the locker room.
“All them fans that got some s— to say. Y’all get y’all a– out there and come tackle with us. Put that in the news,” Garnder-Johnson said. He turned to his left and spotted Eagles owner Jeffrey Lurie. “Tell them, Jeffrey. Every fan say they can make a tackle, we’re gonna invite everybody that say we suck at tackling, we’re gonna bring them out there with A.J. Brown and see if they can make a f—ing tackle. Everybody know that s— ain’t so easy.”
Lurie just laughed.
Reed Blankenship, flushed in the face but not disagreeing, continued his post-game interview. Yes, they’d had some coverage breakdowns, Blankenship said. Yes, they hadn’t done just “what we did in practice.” But when the Packers had a shot to go up two scores in the third quarter, Blankenship hawked Love’s throw into the seam for a game-shifting interception. Blankenship said he’d seen Love make as if he wanted to throw to Reed along the sideline, but turned back to the middle of the field once Gardner-Johnson cut off that option.
Safety Reed Blankenship picked off Jordan Love’s throw into the seam for a game-shifting interception. (Pedro Vilela / Getty Images)
“So, it was one of those anticipation moments,” Blankenship said. “But I couldn’t have done it if he didn’t do his job on the back end.”
It’s difficult to immediately deduce where the breakdown occurred on Reed’s 70-yard score. The Eagles were playing dime, their six-defensive back package designated for passing scenarios such as that third-and-10. Second-round rookie Cooper DeJean and veteran Avonte Maddox appeared to be covering short zones in the slot. Gardner-Johnson was the deepest safety, but at the very least caught by surprise that Reed was running alone into the right hash.
“This is the hardest sport because it includes all 11 guys,” Gardner-Johnson said. “And if all 11 aren’t on the same page, stuff happens. That doesn’t mean you’re the (worst) player in the world. If that’s the case, the owner would’ve let you go. We’ve got to understand that this game right here, we’ve got to understand that as young guys, we’re just now getting good. We’re playing together and we’re understanding we can be dominant in every f—ing aspect of the game.”
Rookie cornerback Quinyon Mitchell revealed himself to be a reliable starter in his professional debut. Love tested the No. 22 pick on a deep ball early in the first quarter, but Mitchell swatted the ball from Christian Watson’s grip. Later, Mitchell extended himself laterally to deflect another Love pass near the sticks.
Mitchell played entirely at outside corner, an interesting development considering Fangio’s devotion throughout training camp to platooning the rookie at nickel. Mitchell had played outside cornerback in base packages, then switched to nickel during preseason games. But Maddox started at nickel against the Packers. The arrangement may be untenable. Maddox was targeted on back-to-back plays by Love, first drawing a pass interference, then a touchdown on the following play.
The absence of Isaiah Rodgers may have played a role. He’d mainly been the outside cornerback throughout training camp when Mitchell played nickel. Rodgers was ruled inactive with a hand injury. When asked if Rodgers’ absence played into the decision, Sirianni said, “That’s still a competitive edge that we have that I’ll keep to myself.” Fielding Maddox at nickel also raises the question of whether the Eagles were confident Kelee Ringo could’ve fulfilled the game plan at cornerback in nickel packages.
Sirianni, who has further embraced his CEO-type role in 2024, has 10 days to reduce the sloppiness before the Eagles host the Atlanta Falcons on Monday, Sept. 16. The 43-year-old coach is now 4-0 in regular-season openers.
“Excited to continue to move on,” Sirianni said. “We’ll have some tough conversations about what went right and what went wrong, but pleased with these guys and we’ll get better from this game.”
(Top photo: Pedro Vilela / Getty Images)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
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.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
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.
Culture
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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