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The Cubs are one of MLB’s top revenue machines. So why aren’t they paying for more players?

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The Cubs are one of MLB’s top revenue machines. So why aren’t they paying for more players?

By Patrick Mooney, Ken Rosenthal and Sahadev Sharma

CHICAGO —  At first glance, the post from an X user named @Brooks_Gate seemed like something a multibillion-dollar company would ignore.

It consisted of a chart that used estimated data to illustrate the percentage of revenue spent on player payroll. Rather than sitting at the top with heavyweights like the Los Angeles Dodgers and New York Mets, the Chicago Cubs were lumped in near the bottom alongside the crosstown White Sox as well as the Pittsburgh Pirates, Tampa Bay Rays and Miami Marlins — the lightweight class.

The Wrigley Field money-making machine drove the Cubs to the third-highest revenue in Major League Baseball last year, according to sources briefed on the club’s finances. Yet even as one of the world’s most beloved ballparks hums along, a single post on social media struck a nerve with fans — and inside the executive offices.

When fans stream into Wrigley Field for Friday’s 1:20 p.m. home opener, unmistakable signs of the disparity between revenue and payroll will be visible. It’s seen in making Craig Counsell the highest-paid manager in the game and then handing him almost the same roster that got David Ross fired after the 2023 season. It’s seen in trading for Kyle Tucker after back-to-back years with 83 wins, but not going all-out to maximize his final season before becoming a free agent. It’s seen in handing the third-base job to an unproven rookie at the start of a playoffs-or-bust season, after budgetary restrictions effectively took them out of the running for Matt Chapman and Alex Bregman.

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The graphic that perturbed Cubs executives was just one of many floating around in the vast expanse of social media. But it captured the growing belief that the Cubs no longer seem quite as singularly focused on winning the World Series, at least compared to the way that 1908 once hung over prior regimes.

One reason is the payroll parameters set by the Ricketts family ownership group and Crane Kenney’s business operations department. Another is the rising cost of doing business in the hypercompetitive National League. Taken together, those factors have left the club in a somewhat nebulous state, as legitimate contenders but with a margin for error that is arguably thinner than it should be.

The organization’s decision-makers dispute that notion. They believe the graphic is misleading and that they are making forward-looking financial choices, from hiring Counsell to building a scouting presence in Japan to enhancing player development.

“Talking about team revenue and payroll without including the other investments in baseball and business operations, as well as the impact of revenue sharing, does not show the whole picture,” said Kenney, a reference to the capital expenditures to maintain a team-owned ballpark that opened in 1914, and operating costs to run a popular tourist attraction.

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Still, one league source referred to “the handcuffs” that Cubs president of baseball operations Jed Hoyer has dealt with while trying to build a playoff contender. A competing view, however, is that the Cubs spent roughly $100 million more than the Milwaukee Brewers last year and still finished 10 games behind that small-market team.

“The focus should not be on payroll,” Hoyer said. “Last season we went over the luxury tax and we ultimately didn’t win. That’s on me. I think we’ve built a better team this year and I’m excited for the season.”

On paper, the club remains a favorite to win the NL Central with a solid pitching staff, first-round picks all over the field and the ability to upgrade at the trade deadline. This new Cubs Way could work. But success would come despite the discrepancy highlighted by the graphic on social media. The Cubs’ spending on payroll does not appear to match their revenues.


Budget restrictions kept the Cubs from making a more competitive bid for free-agent third baseman Alex Bregman, who wound up with the Red Sox. (Maddie Malhotra / Boston Red Sox/Getty Images)

Imagine what Chicago’s lineup would look like with Chapman or Bregman hitting in the middle of the order and playing Gold Glove defense at third base. Within the past two offseasons, the Cubs had their chances to sign those All-Stars, who lingered on the free-agent market longer than expected.

Hoyer’s baseball operations department viewed each player as a sound investment and lasted into the final rounds with Scott Boras, the high-powered agent who represents both Chapman and Bregman. Those negotiations, however, went down as missed opportunities.

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Matt Shaw, the unproven player tapped to play third base, might wind up being the NL’s Rookie of the Year. But the Cubs also could have bought more time for Shaw, the No. 13 pick in the 2023 draft, or upgraded in other areas to lower some of the team’s overall unpredictability.

Shaw started spring training this year understanding that Bregman was a possibility for a front office that often stays engaged on free agents deep into February or even March.

The year before, with a hole at third base, league sources said the Cubs kept Chapman on their radar but never made a formal offer due to budgetary constraints.

Chapman eventually signed a three-year, $54 million contract with the San Francisco Giants. While the Cubs started seven different players at third base last year — all no longer in the organization — Chapman posted 7.1 wins above replacement, per Baseball Reference.

“The Cubs had a lot of interest in me,” Chapman told The Athletic. “They were willing to do a one-year deal with me.

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“There was just no way I could take the Cubs’ one-year deal, just for protection purposes. I was definitely considering it. I thought it would have been a good place to play. I thought they were a good team.

“Even if it was two with an opt-out after the first year, I would have really had to take a look at it. But they said with the way their money was, they could only do a one-year. I was just like, ‘That’s just too risky.’”

Boras first placed another client, Cody Bellinger, back with the Cubs before securing Chapman’s deal with the Giants. Chapman played so well in the Bay Area that he wound up signing a six-year, $151 million contract extension last September.


Matt Chapman would have made sense for the Cubs, who couldn’t make him more than a one-year offer because of budget limitations. (Ross D. Franklin / Associated Press)

Bellinger, meanwhile, had a good-but-not-great season with the Cubs, which convinced him to opt in for another year on his current deal. Rather than retain the former MVP, the Cubs traded Bellinger to the New York Yankees last December, a move that lined up with their blockbuster deal to acquire Tucker from the Houston Astros.

In a salary dump, the Cubs gave up Bellinger for Cody Poteet, a 30-year-old pitcher who got designated for assignment last week and was then traded to the Baltimore Orioles for cash considerations.

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Internal frustrations resurfaced in February once the Cubs missed on another third baseman. Bregman picked the Red Sox, signing a three-year, $120 million contract that includes a substantial amount of deferred money that lowered the present-day value.

Hoyer was authorized to present Bregman and Boras a four-year deal worth $115 million, according to league sources, which paled in comparison to offers made by the Astros (six years, $156 million) and Detroit Tigers (six years, $171.5 million) as well as the opportunity in Boston.

While thanking the Ricketts family for the freedom to pursue Bregman, Hoyer also made it clear to reporters that this was deemed an exceptional case. The money earmarked for Bregman would not be automatically transferred into this year’s budget for baseball operations.

Hoyer also revealed that the Cubs were around their budget limits last year when ownership gave the approval to sign Bellinger. Their final 2024 payroll wound up ninth in the majors, according to The Associated Press, at almost $240 million, or just slightly over MLB’s luxury-tax threshold.

If Hoyer had to make a special request for Bellinger, then signing another All-Star shortly thereafter would have been out of the question. This was not lost on one of the sport’s most influential agents.

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“The winning commitment barometer of a major-league team is the percentage of revenues invested in talent,” Boras said.


Ten years ago, Cubs executives were highlighted in a glowing Bloomberg Businessweek cover story that declared “a sports empire is in bloom.” The major-league club had finished in fifth place five years running, and the franchise had not captured a World Series title since Theodore Roosevelt’s presidential administration. Still, the roaring optimism proved to be accurate.

Theo Epstein, the curse-buster from Boston, had recruited Hoyer to serve as his general manager in a growing front office, and later hired star manager Joe Maddon. Big-name free agents flocked to Chicago for the money and the chance to make history.

Just as the baseball side of the organization had modernized scouting and player development systems to support an elite farm system, Cubs chairman Tom Ricketts and Kenney’s group realized the synergy of a renovated Wrigley Field, which suddenly became the new avatar for a franchise long known as the Lovable Losers.

Kenney delivered the money quote in that Bloomberg Businessweek story: “Basically, my job is fill a wheelbarrow with money, take it to Theo’s office, and dump it.”

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The wheelbarrow was big enough to win the 2016 World Series and carry the NL’s highest payroll in 2019, a disappointing season that was the lone playoff miss amid five postseason appearances between 2015 and 2020. But since the fall of what they hoped would be a dynasty, the Cubs have taken a conservative approach while certain NL clubs continue to operate aggressively.

The financials for almost every MLB franchise are opaque, but The Associated Press gave a snapshot on Opening Day 2025 that ranked the Cubs 12th out of 30 clubs with a major-league payroll nearing $193 million, which put them lower than the Arizona Diamondbacks.

That total does not reflect the organization’s entire spend on baseball operations. A team source indicated the Cubs were fifth in that category last year, though the NL is becoming a different kind of arms race.

The Mets, pushed by owner Steve Cohen, and Dodgers, taking advantage of an exceptional TV deal, are both carrying major-league payrolls north of $300 million. The Philadelphia Phillies, led by managing partner John Middleton, have added more investors in recent years as the club pushed its payroll toward the $300 million level.

The Atlanta Braves followed a Wrigleyville blueprint, building The Battery Atlanta around Truist Park, and business is booming. The San Diego Padres just signed Jackson Merrill, a dynamic young center fielder, to a nine-year, $135 million contract extension, which now gives the club six players on nine-figure deals.

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“Deficit spending in the National League has definitely accelerated in the past five years,” Kenney said. “This has added pressure to grow revenue in new ways and innovate beyond our comfort zone.”


Fans cheer on Shota Imanaga. Wrigley Field continues to help fuel the Cubs’ robust revenue. (Michael Reaves / Getty Images)

Forbes recently assessed the Cubs at $4.6 billion, the fourth-most valuable franchise in baseball, an astronomical increase from the $845 million purchase price of the team, Wrigley Field and a piece of a regional sports network in 2009. The Ricketts family subsequently sold equity shares to help finance the stadium renovations, but they do not view that as a sustainable strategy for signing free agents and propping up payroll.

Even as valuations soar — the Boston Celtics, an iconic NBA team, recently sold for $6.1 billion — industry sources said the franchise remains a generational asset for the Ricketts family. Navigating this next phase will be a challenge.

“The business model in baseball, it’s worked pretty well for a long time, but there’s a few things right now that are just a little out of kilter,” Ricketts said on 670 The Score during the team’s winter fan festival. “The Dodgers have a lot more resources, naturally, from smart business moves they made years ago. I don’t begrudge them any of that.

“I understand when fans say, ‘How come you don’t spend like that?’ Because they think somehow we have all these dollars that the Dodgers have or the Mets have or the Yankees have and we just keep it. Which isn’t true at all. What happens is we try to break even every year.”

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Ricketts clarified his Cubs Convention comments during a recent sit-down interview with CNBC.

“Maybe using the word ‘break even’ wasn’t the way I wanted to say that,” Ricketts told CNBC. “I just want people to know that every dollar that’s spent at the ballpark goes back into putting a more competitive team on the field. Away from that, everyone knows — every Cub fan knows — that we’ve invested roughly a billion dollars into Wrigley Field itself and the neighborhood around, so it’s not a matter of us not investing. We are putting the best team on the field that we can every year.

“Fortunately, for baseball, player development is as important as how much you’re spending on free agents, so we just keep grinding and doing the blocking and tackling that build the organization from the bottom up.”


In 2020, when Hoyer took over for Epstein, the Cubs refused to label it as a rebuild. But they made no secret that there would be changes.

Hoyer dealt with the COVID-19-related budget cuts that forced his group to non-tender Kyle Schwarber and trade Yu Darvish in the middle of a pandemic. When the Cubs began to collapse months later, Hoyer made the bold move to unload Anthony Rizzo, Kris Bryant and Javier Báez in a flurry of deals at the 2021 trade deadline.

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All those unpopular and unsentimental decisions eventually left the Cubs without any players remaining from their 2016 World Series team.

But what has surprised some players, agents and rivals is the cautiousness that has followed that period of transition.

“They announced what they were going to do when Jed took over,” said one executive who was granted anonymity to candidly discuss another club. “They were going to take a step back and they have. There was the assumption that once they got to a particular point they would start investing very heavily again. And they’ve probably been a little bit more methodical about it than a lot of people in the industry thought they would.”

The expectation was that Kenney’s wheelbarrow of money would come in once the front office reconstructed a stable foundation. While that has not yet happened in full force, the rival exec said, “They’re arguably the favorites in that division now. They’re still in pretty decent shape even with somewhat more modest spending.”

But big spending is the competitive advantage in a division where every other club routinely collects competitive balance draft picks to stack up more prospects. And if deficit spending, equity sales and deferred money are becoming common practices for the sport’s top teams, then the Cubs’ seeming reluctance to more assertively wield those financial tools becomes noticeable.

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Jed Hoyer has yet to lead the Cubs to the postseason. In the final year of his contract, he faces pressure. (Griffin Quinn / Getty Images)

The Cubs’ pursuit of Bregman indicated that the bigger wheelbarrow has yet to arrive. Bregman passed the scouting eye test and the club’s projection model. Third base represented the only spot on the field where the Cubs did not have an established position player. Bregman’s championship experience and baseball IQ could have provided intangible benefits, and he’s close with Tucker after their time together in Houston.

After years of creating a solid major-league nucleus and restocking the farm system, this felt like the moment to strike. Instead, the Cubs whiffed and moved forward with Shaw, a top prospect and one of several talented young players who are being counted on to have breakthrough years.

Hoyer is now in the final year of his contract and under pressure. The rival official pointed to the Tucker trade, one that will be endlessly debated if the Cubs miss the playoffs this year and the Astros turn Cam Smith, the headlining prospect in that deal, into a superstar. The outcome may prove to be a referendum on the Cubs — and whether they’ll continue to face scrutiny for their spending.

“They’re going to have a test case with Kyle Tucker,” the rival executive said. “One extension probably puts all of that discussion to bed. And they have been active in a variety of these conversations. They just haven’t quite landed the player.”

Until they do, an undercurrent of frustration will run through Wrigleyville and social media, and the rumbling over time will only grow louder. Unless this is the year the Cubs win big.

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(Illustration: Demetrius Robinson / The Athletic; Photo: Quinn Harris / Getty Images)

Culture

What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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Whatever you do, don’t think of a bird.

Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?

Before you answer, read this poem, which is quite literally about not thinking of a bird.

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Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.

Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.

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Wallace Stevens in 1950.

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Walter Sanders/The LIFE Picture Collection, via Shutterstock

As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.

Are those worlds real?

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Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.

Until then, we find consolation in fangles.

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

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Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

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But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

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It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

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and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

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So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

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I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

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Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

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We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

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did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

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“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

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I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

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and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

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When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

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And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

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It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

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Do You Know the Comics That Inspired These TV Adventures?

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Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

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