Culture
The 8 NFL free-agent signings with the best chance to outproduce their contracts
The first wave of NFL free agency is winding down, and there are now plenty of deals to assess.
In the team free agency rankings we released ahead of the negotiation window earlier this month, we dove into the data from the previous four years, 2021 through 2024. We logged cash spent on each free agent during that span. We also logged the value produced — using Football Reference’s Approximate Value metric — by each player while he was on his free-agent contract. By comparing these two figures, we determined how much value each free agent produced per $1 million in cash spent, or AV per million. And, in turn, we ranked teams at large by how much value they were producing per $1 million cash spent on the free agent market.
Now we can use that data to try and project the best value deals from the early returns in this 2025 free agent class. From 2021 to 2024, the league average in AV per million was .713. That is the benchmark we will use in our projections. Any player who produces more than .713 AV per million can be classified as an above-average return on investment. For reference, quarterback Russell Wilson had the highest AV per million of any free agent signed in the 2024 class. He finished with 9 AV in 11 starts for Pittsburgh. The Steelers paid Wilson just $1.21 million in cash.
What we are looking for are low-cost signings that have the chance to outperform their bargain deals.
Here are our eight best potential value deals of the first wave of free agency.
(All contract figures courtesy of Over the Cap.)
Levi Onwuzurike, IDL, Detroit Lions
2025 cash: $4 million
Interior defensive linemen got paid in this free-agent cycle. Milton Williams signed with the New England Patriots for $26 million in average per year (APY). Osa Odighizuwa returned to the Dallas Cowboys on a contract worth $20 million in APY. Javon Kinlaw got $15 million in APY from the Washington Commanders, while Tershawn Wharton got just over $15 million in APY from the Carolina Panthers. Onwuzurike had more pressures (47) and a higher pass rush win percentage (11.9) than both Wharton and Kinlaw in 2024, according to Pro Football Focus. He returned to the Lions on a far cheaper deal.
Onwuzurike only finished the season with 1 1/2 sacks, and perhaps that lack of box score production affected his market. But the upside here feels tremendous if Onwuzurike can maintain his level of pressure. An AV per million above 2.0 seems well in reach. Only 34 free agents from the 2024 class hit that number in 2024.
Joshua Uche, edge, Philadelphia Eagles
2025 cash: $1.92 million
The Eagles were the clear winners of free agency in 2024. It is no coincidence they went on to win the Super Bowl. Philadelphia received above-average AV per million returns on several free agents, including linebacker Zack Baun (4.0), running back Saquon Barkley (1.2) and guard Mekhi Becton (1.5). Baun was in the top 10 in AV per million after transitioning to off-ball linebacker and having a breakout All-Pro season.
If the Eagles are going to hit big on a 2025 free agent value signing like they did with Baun last year, Uche is a good bet. He is cheap. He had an 11 1/2-sack season with the Patriots in 2022. He will be playing alongside one of the best defensive tackles in football in Jalen Carter. And we saw in 2024 what kind of impact Carter had on his teammates, including Williams and edge rusher Josh Sweat, both of whom left in free agency. The big question with Uche is whether he can earn playing time in a deep edge rusher room in Philly. Nolan Smith Jr., Bryce Huff and Jalyx Hunt all return. The Eagles also signed Azeez Ojulari to a one-year deal in free agency.
Nick Westbrook-Ikhine, WR, Miami Dolphins
2025 cash: $3.2 million
One big theme in our AV-per-million player rankings: Low-cost receivers with a pathway to playing time tend to produce substantial returns on investment. The Washington Commanders had two receivers in our 2024 top 10: Olamide Zaccheaus (4.64 in AV per million) and Noah Brown (4.13). Zaccheaus made $1.29 million in cash and caught 45 passes for 506 yards and three touchdowns. Brown made $1.21 million in cash and caught 35 passes for 453 yards and one touchdown.
Westbrook-Ikhine fits the profile in this year’s class. He has good size at 6-foot-2, 211 pounds and is a legitimate weapon in the red zone. His skill set is a logical complement to Tyreek Hill and Jaylen Waddle. Westbrook-Ikhine had nine touchdowns in 2024, tied for eighth among receivers. Six of those came in the red zone, also tied for eighth.
Richie Grant, S, San Francisco 49ers
2025 cash: $1.5 million
Grant, a former second-round pick to the Atlanta Falcons in 2021, started 32 games over the 2022 and 2023 seasons. But he lost his starting job when coach Raheem Morris and his staff took over in 2024. He should have a chance to compete for a starting job with the 49ers, who lost Talanoa Hufanga in free agency. Grant will have to beat out 2023 third-round pick Ji’Ayir Brown and Jason Pinnock, who San Francisco signed to a one-year, $2.2 million deal in free agency.
If Grant wins the job and plays starting snaps, there is a clear avenue toward a high AV per million. The 49ers have a history of finding value on cheap safety contracts. In 2022, they paid $1.12 million in cash for veteran Tashaun Gipson Sr., who started all 17 games. Gipson’s 6.25 AV per million that season ranks second for any free agent during the 2021-24 window.
If Richie Grant becomes a starter for the 49ers, he could be a bargain for his $1.5 salary in 2025. (Brett Davis / Imagn Images)
Ifeatu Melifonwu, S, Miami Dolphins
2025 cash: $3 million
The Dolphins had to retool their safety room during this year’s free agency period. Jevon Holland signed a big deal with the New York Giants. Jordan Poyer, who turns 34 in April, is a free agent. The Dolphins, at least partially because of their tight cap situation, had to look for cheap answers at the position. They signed Ashtyn Davis to a one-year, $2.5 million deal and they signed Melifonwu to a slightly more expensive contract. Both of these deals have the potential for AV-per-million upside.
Melifonwu, a college cornerback who transitioned to safety in Detroit, has a higher ceiling. He has battled injuries and only played more than 10 games one time in his first four NFL seasons with the Lions. But when he played a full season in 2023, Melifonwu showed a ton of promise, including as a blitzer and in his ball production.
Najee Harris, RB, Los Angeles Chargers
2025 cash: $5.25 million
Harris is positioned to be a workhorse back for the Chargers, who cut Gus Edwards and have not yet re-signed J.K. Dobbins. Harris has not missed a game in his four NFL seasons. He has carried the ball at least 255 times and rushed for at least 1,000 rushing yards in all of those seasons. He has never finished a season with less than 6 AV. He has averaged 7.75 AV per season. This could end up being more of a base-hit signing.
If Harris can rediscover some of his rookie-year form, particularly as a pass catcher, this could become a more significant return on investment. In 2021, Harris caught 74 passes on 94 targets for 467 yards. His quarterback that season was Ben Roethlisberger. Harris produced a career-high 10 AV. The Steelers have been in QB purgatory since then, even if they got some viable production out of Wilson in 2024. Justin Herbert is quite willing to hit his check down if he has the running back to do it. Just ask Austin Ekeler.
This signing is reminiscent of the Devin Singletary deal with the Houston Texans in 2023. Singletary was entering his age-26 season and coming off his rookie deal that offseason. He was moderately productive over his first four seasons. He signed a one-year deal with the Texans and made $3.125 million in cash. That year, Singletary played all 17 games and produced 2.24 AV per million. Harris is entering his age-27 season. The cash figures are slightly elevated. But in terms of percentage of the cap, Singletary was at 1.4 percent. and Harris is at 1.9 percent.
Van Jefferson, WR, Tennessee Titans
2025 cash: $1.67 million
The Titans have some decisions to make before the start of the 2025 season, including who their starting quarterback will be. They have the No. 1 pick, which they could use on a quarterback. They could very well add another receiver in the draft. But as it stands, Jefferson has a chance to be the No. 2 option for whoever is throwing the football, behind Calvin Ridley.
This feels similar to the Zaccheaus and Brown deals, who were playing alongside No. 1 Terry McLaurin. The Commanders struck gold with quarterback Jayden Daniels. At the price, there is plenty of room for a strong return on Jefferson, who in 2021 caught 50 passes for 802 yards and six touchdowns with the Los Angeles Rams.
Cornelius Lucas, OT, Cleveland Browns
2025 cash: $3.25 million
Lucas has made a career out of being a trustworthy swing tackle. The 33-year-old has double-digit career starts on both the right and left side, but he has only started more than eight games in one season.
The Browns do not have a reliable plan for left tackle on the roster. Dawand Jones, a 2023 fourth-round pick, has landed on IR in each of his first two seasons. The team signed Teven Jenkins but he’s primarily been a guard. Jedrick Wills is a free agent. Not to mention that right tackle Jack Conklin turns 31 in August and has battled multiple serious knee injuries, most recently in 2023. If Lucas starts a bunch of games at tackle for the Browns this season, he will be high up in our AV per million rankings next March.
(Top photos of Levi Onwuzurike and Najee Harris: Jorge Lemus / NurPhoto via Getty Images and Candice Ward / Getty Images)
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.
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.
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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