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The '24 White Sox are at risk of being worse than the '62 Mets: Can they avoid infamy?

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The '24 White Sox are at risk of being worse than the '62 Mets: Can they avoid infamy?

Editor’s note: The White Sox have fired manager Pedro Grifol, the team announced Thursday morning.

OAKLAND, Calif. — It was two hours before first pitch, and Chicago White Sox manager Pedro Grifol sat in his office this week as he would before any other game. As his scuffling club prepared to face the Oakland Athletics, he settled in behind his desk, in uniform, and projected a sense of calm that belied his predicament.

On the day he was hired, in November of 2022, Grifol flashed the intensity of a baseball coaching lifer, a quality that helped him land the job. “We’re going to prepare every night to kick your ass, and that’s just what we’re gonna do,” Grifol said, a comment that has since gone viral because there have been precious few ass-kickings delivered by the White Sox. In this second year at the helm, Grifol is 89-190. And on this day, with his team on a 20-game losing streak, the conversation brought all the expected questions about his job performance.

In the public discourse, the end of his tenure has been referred to as a question of when, not if. Sitting back in his chair, Grifol politely introduced himself. For the next 10 minutes, he was at times thoughtful, acknowledging the desperate desire to win a game. When asked about a radio report that claimed Grifol had pinned all the losing on his players — part of a motivational tactic gone wrong earlier this season — his denial indicated a firm sense of the demands of leadership.

“What coach or manager in their right mind would try to separate themselves from adversity?” Grifol said. “When you’re in a group setting, when you’re all in this thing together. … It’s not my personality, it’s not who I am.”

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But at other times, he flashed an edge.

When asked if he felt the talent in his clubhouse was better than the team’s record, Grifol said, “I’m not going to answer that question. What’s behind that question?”

When asked if he felt the conversation surrounding his team wasn’t fair, Grifol said: “I don’t read (the) media. I don’t have social media. So that’s a tough question. I know where we’re at as a team. I know where we’re trying to go, and what we’re trying to get accomplished. But as far as what’s happening out there, I can just imagine it.

“I’m not avoiding anything because I don’t hear the noise. I come here to work with the players.”

Just hours later, those same players would tie an American League record with their 21st consecutive loss. And though they’d come back the next day to end the losing streak, it proved to be a temporary reprieve.  On Wednesday, the White Sox left Oakland on the heels of another loss, a 3-2 defeat that dropped them to 61 games below .500, 15 games worse than any other big league team.

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With the season entering the homestretch, the White Sox remain on track to break one of baseball’s most dubious records.

In 1962, in the first year of their existence, the New York Mets did what no club had done in baseball’s modern era. In a single season, they lost a staggering 120 games. The 2024 White Sox are on pace to lose 123 games. They’ll need to win 15 of their next 45 games to avoid tying the Mets’ ignominious mark. It won’t be easy.

The rest of the season is now a race to avoid infamy, one that has become a national storyline, though the beleaguered manager seems taken aback by the scrutiny.

“This is a close-knit group,” Grifol said. “Here, you come from the outside, and nobody knows you.”


White Sox manager Pedro Grifol following a loss. (Bruce Kluckhohn / USA Today)

In 2023, when Chicago was expected to compete, their abysmal record necessitated a trade deadline sell-off. A year later, a team that began with low expectations has found a way to massively underperform, with a roster littered with hitters who have failed to live up to their career numbers. Luis Robert Jr. hit 38 home runs last year; he has just 12 this season. Andrew Benintendi was an All-Star two years ago; this season his OPS+ is 70.

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Andrew Vaughn, Gavin Sheets, Nick Senzel and the recently traded Eloy Jimenez have all disappointed. Meanwhile, Robbie Grossman and Kevin Pillar struggled earlier in the year with the White Sox but have vastly improved with their new teams.

All this failure begs the question: Where is this all headed, and what is the plan to right the ship?

White Sox general manager Chris Getz, a 40-year-old former player, was elevated into his position late last season after the dismissal of longtime executives Kenny Williams and Rick Hahn. He hammered home the idea of getting back to contention, called this season the first year of a “multi-layered, multi-year project” and boasted about what he believes is growth in the organization’s pitching department.

“We made a pretty strong run at the major-league level with some of our starting pitchers — for two months time being at the top of the American League with our starters,” Getz said in an interview this week. “That is not something I think many people believed we were going to be able to accomplish.”

Yes, there was a stretch where the team’s starting pitching excelled, however, as a whole the staff has accomplished very little. The White Sox team ERA is 4.83, better than only the Colorado Rockies.

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This season is more painful than anyone expected, Getz acknowledged. He knows it’s hard to watch. He came in unproven, and his previous work as the club’s director of player development hadn’t yielded many positive results. But as a GM, he believes the organization is in a better place now, overall, than when he inherited it.

“At the end of the day, nobody’s going to feel or believe that we’re building toward something until it shows up in the win-loss record,” Getz said. “That’s the reality of our sport. That’s the reality of fan bases. Until that happens, there’s going to be a high level of skepticism.

“But for those of us that are living under the hood and understand this multi-layered project in front of us, they understand that this is part of the process that was set out.”

Many of those fans questioning the rebuild’s credibility also don’t believe that owner Jerry Reinsdorf will ever fully invest what’s needed to build the White Sox into a sustainable winner. After all, the most expensive contract in White Sox history is the $75 million that Andrew Benintendi earned before last season.


White Sox GM Chris Getz. (Kamil Krzaczynski / USA Today)

When asked if Reinsdorf would eventually increase his financial investment, Getz answered definitively: “Yes.”

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“There’s going to be times when we’re going to have to tap into some financial resources to go after free agents, or pour infrastructure and technology and continue to expand and strengthen our front or departments throughout the organization,” Getz said.

“That’s all part of this plan that’s in place.”

That plan seems hard to envision, especially as the disheartening losses pile up, though like most big-league teams the White Sox don’t let on. This week, the clubhouse functioned like almost any other around the league. Before the game, players occupied themselves with card games or their phones. The mood was light. Even the quiet after Monday’s game seemed typical for a big league team. Whether a team is in first place — or in the running for worst team ever —  there is mostly silence.

The most obvious difference: In this clubhouse, and with this team, the players are being asked to explain what feels almost inexplicable.

“We’re handling it fine, as best as we can,” outfielder Corey Julks said quietly. “We’ve got to rally as a team.”

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The trade deadline similarly gave cold comfort to those hoping to see Chicago’s plan substantively advance. The White Sox were universally criticized for their return in a three-team trade that netted Miguel Vargas and two 19-year-old prospects for Erik Fedde, Tommy Pham and Michael Kopech.

Getz said he knew ahead of time the trade might be criticized. But he said he remains very happy with the return and hopes it can represent an organizational shift.

“Obviously, that’s why I’m here,” Vargas said. “I’m trying to bring that LA energy, trying to bring that here. Have that culture … trying to bring that here, that energy to be able to, in the future, have success.”

Vargas left a first-place club and joined one that was, at the time, on a 15-game losing streak.

In the days following, the toll of talking to the media about the club’s struggles was evident in its players.

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“We just haven’t scored as many runs as the other team has for 20 games in a row,” pitcher Garrett Crochet said before a game this week.

When asked, probably not for the first or last time, about the anxiety of avoiding an all-time loss record, he said: “I’m done with this interview.”


John Brebbia, a 34-year-old workhorse reliever in his first season with the White Sox, is the oldest and most veteran player on the roster, and he believes the talent is better than the record. He understands the concerns over finishing with a worse record than the ‘62 Mets.

“It’s fair, it should be asked,” Brebbia said. “If it’s trending that way, we’re gonna get asked about it. It’s part of the job. I can’t speak for everyone’s motivation. But from my perspective, it looks like everyone shows up and wants to win as much as possible.”

But outside the lines, the White Sox have become a sideshow. Even the team-run postgame show has piled on with criticisms.

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Prior to Grifol’s hiring, Ozzie Guillen reportedly was one of several candidates interviewed by the organization. His ties to the White Sox run deep, both as a player and later as the manager during Chicago’s World Series championship in 2005. He ultimately was not selected for a reunion and now serves as an analyst. After a recent loss, Guillen brought up the team’s choice of Grifol, and quipped on air: “I don’t think I was that bad a manager.”

The fans, too, have seen enough. Paper bags have become part of the standard uniform for some White Sox loyalists who still show up for games. In Oakland, in the stands behind the visiting dugout, White Sox fan Matt Verplaetse bought a ticket and sat alone. He wore a T-shirt that displayed what has long been a common refrain among the fanbase: “Sell the team Jerry.”

Verplaetse grew up in the Chicago area and has since moved to Northern California. He likes baseball and remains a die-hard fan, though he was still self-aware enough to poke fun at his attendance.

There is a lot to ask about the franchise’s future. The legitimacy of their long-term plan — and the quality of staff and players they’ll be able to bring in — are chief among them. But for now, over the final 45 games, Verplaetse has zeroed in on perhaps the most important question.

“I think everyone, going in, expected it to be pretty bad,” he said. “But (they) never predicted it being this bad. And now, it’s almost a morbid curiosity.

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“How bad is it going to get?”

(Illustration: Dan Goldfarb / The Athletic. Photos: Getty Images / David Berding, Lachlan Cunningham)

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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