Culture
The Jameis Winston roller coaster was on full display in Browns’ loss to Broncos
DENVER — Jerry Jeudy almost got to be homecoming king.
He only slowed down Monday night to soak up the jeers of fans who once rooted for him, but the Jameis Winston roller coaster fell off the tracks with two picks in the final two minutes.
The Cleveland Browns rewrote some records but not the overall story of their disappointing season, as Winston threw for a franchise-best 497 yards and four touchdowns but also had a pair of interceptions that the host Denver Broncos returned for scores.
The Browns, no longer boring but still bad, couldn’t overcome their sloppiness and Winston’s three turnovers. Broncos cornerback Ja’Quan McMillian’s 44-yard interception return with 1:48 remaining came when the Browns were driving to set up a potential go-ahead field goal attempt.
But that Winston whiplash only led to more disappointment as the Broncos scored the final 10 points to secure a 41-32 win in a game that featured five lead changes and 163 yards worth of touchdown passes in 11 seconds in the third quarter.
The Broncos improved to 8-5 and moved a step closer to securing a playoff berth. The Browns suffered their fifth straight road loss and fell to 3-9.
“I messed it up for us in front of the whole wide world,” Winston said.
MCMILLIAN PICK-SIX TO POSSIBLY ICE IT.
📺: #CLEvsDEN on ESPN
📱: Stream on #NFLPlus pic.twitter.com/byTyDJ5y47— NFL (@NFL) December 3, 2024
Jeudy had nine receptions for 235 yards, the most yards by a receiver facing his former team in NFL history. He repeatedly sprinted past the Broncos’ secondary and also blew past his previous career-best game of 154 receiving yards in the 2022 season finale.
Winston and Jeudy connected on a 70-yard touchdown early in the third quarter to get Cleveland within three. In the fourth quarter, Jeudy joined Cincinnati Bengals star Ja’Marr Chase as the only players to post 200-yard receiving games this season. Winston bested his single-game record of 458 passing yards in 2019 and Josh McCown’s Browns record of 457 in 2015. But after the Broncos settled for a field goal and a two-point lead inside the final three minutes, the McMillian interception on a sideline route essentially ended the chances of Winston leading a comeback on his big night.
“Bad throw,” Winston said, making it clear he didn’t want to get into further details.
Despite Jeudy’s domination of multiple Denver coverages, Cleveland didn’t have him on the field when McMillian made the interception. Browns coach Kevin Stefanski said Jeudy was taking a play to rest. Maybe it wouldn’t have mattered, but that’s the kind of strange decision — the pick occurred on the first play out of the two-minute warning — that’s been tied to this Browns team all year. In early October, Stefanski said multiple times that Deshaun Watson gave them the best chance to win, and he stuck with Watson despite the quarterback never throwing for 200 yards in a game and Cleveland never reaching 20 points in his seven starts.
Watson only threw for 421 total yards over his last three starts and only had five touchdown passes all season. Winston was a couple of decisions away from surpassing that touchdown total in one game Monday night.
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Jeudy backed up his previous statement that he’s “been open my entire career” with another explosive performance against the team that traded him to Cleveland in March.
He had just one reception in each of Watson’s last three starts. Elijah Moore and Cedric Tillman have become playmakers in the Winston-led offense, too. It’s clear that the hesitance to change quarterbacks ended any chance of the Browns salvaging this season, and what was a joyless and relatively hopeless offensive operation had its best showing Monday night with 552 yards and 28 first downs before the fun ended with Winston’s late interceptions.
The Browns got to the 2-yard line while trailing by two scores with 44 seconds remaining before Winston threw into traffic and was intercepted a third time by Cody Barton.
“I think we played our butts off all around,” Jeudy said. “We just couldn’t finish how we were supposed to. That was a great team we faced. We just got to find a way to finish.”
Moore, the intended receiver on the McMillian interception, said the Broncos cornerback undercut the route. Moore blamed himself for hesitating and not making sure he touched McMillian immediately afterward, which allowed McMillian to return to his feet and sprint for the touchdown.
Late in the first half, Nik Bonitto read Winston’s eyes on a pass that he stepped in front of and returned for a 71-yard score.
BRONCOS PICK SIX
📺: #CLEvsDEN on ESPN
📱: Stream on #NFLPlus pic.twitter.com/X8eJpG9yUj— NFL (@NFL) December 3, 2024
“I’m just praying for the Lord to deliver me from pick sixes,” Winston said.
Yes, he really said that. He really did all that, too, releasing six passes that resulted in touchdowns — four to his team and two to the Broncos. He went to Jeudy on the Browns’ first play of the night for a gain of 44 and wisely kept going back. Jeudy encouraged the home crowd to boo louder after his first reception, and after his touchdown and ensuing two-point conversion, he posed and invited the hate.
“They only boo when they know there’s something great in you,” Jeudy said.
Entering Monday night, Jeudy was 29th in the NFL with 645 receiving yards and tied for 25th at 14.3 yards per reception. Now, he’s tied with CeeDee Lamb of the Dallas Cowboys for fifth with 880 receiving yards and ninth at 16.3 yards per reception.
For much of the night, it looked like Winston would also take a leap — and maybe even into Cleveland’s future plans. He carried a perfect passer rating into the second quarter. On his first two touchdowns, he showed some touch in placing the ball to different parts of the end zone where only David Njoku could get it. The second one to Njoku came late in the first half and followed Bonitto’s interception, allowing the Browns to keep it a one-score game.
Early in the third quarter, Broncos rookie quarterback Bo Nix threw a 93-yard touchdown strike to Marvin Mims Jr. The Browns answered on the next play with the 70-yarder from Winston to Jeudy.
Ultimately, though, keeping it close — and Winston being close to a night for the ages — ended with Cleveland doing the best it could. Even with the defense twice forcing the Broncos into second-half field goals and twice intercepting Nix, Denver got its defenders into the right places at the most crucial times.
“The team doesn’t deserve that,” Winston said. “Bad throws. I have to be better.”
(Photo: David Zalubowski / Associated Press)
Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).
This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Ada Limón, poet
Nonetheless, the poem soon makes clear that love is very much on its mind.
How should we like it were stars to burn
With a passion for us we could not return?
David Sedaris, writer
The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.
If equal affection cannot be,
Let the more loving one be me.
Reginald Dwayne Betts, poet
Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
Auden’s poem, like Marlowe’s, is written in four-beat lines:
How should we like it were stars to burn
With a passion for us we could not return?
Josh Radnor, actor
And it features strong end rhymes:
If equal affection cannot be,
Let the more loving one be me.
Samantha Harvey, writer
These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:
I do not like thee, Doctor Fell
The reason why I cannot tell.
But this I know and know full well
I do not like thee, Doctor Fell.
There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.
This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.
But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.
What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.
This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:
As lines, so loves oblique may well
Themselves in every angle greet;
But ours so truly parallel,
Though infinite, can never meet.
The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”
The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:
How should we like it were stars to burn
With a passion for us we could not return?
Mary Roach, writer
The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:
If equal affection cannot be,
Let the more loving one be me.
Tim Egan, writer
Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
How should we like it were stars to burn
With a passion for us we could not return?
Tap a word above to fill in the highlighted blank.
Your task today: Learn the second stanza!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
Literature
Oedipa Maas from ‘The Crying of Lot 49’ (1966) by Thomas Pynchon
“The unforgettable, cartoonish protagonist of this unusually short novel is a California housewife accidentally turned private investigator and literary interpreter, and the mystery she’s attempting to solve — or, more specifically, the conspiracy she stumbles upon — is nothing less than capitalism itself,” says Ngai, 54. “As Oedipa traces connections between various crackpots, the novel highlights the peculiarly asocial sociality of postwar U.S. society, which gets figured as a network of alienations.”
Sula Peace from ‘Sula’ (1973) by Toni Morrison
“Sula arguably begins to disappear as soon as she’s introduced — despite the fact that the novel bears her name. Other characters die quickly, or are noticeably flat. This raises the politically charged question of who gets to ‘develop’ or be a protagonist in American novels and who doesn’t. The novel’s unusual character system is part of its meditation on anti-Black racism and historical violence.”
The speaker of ‘Lunch Poems’ (1964) by Frank O’Hara
“Lyric poems are fundamentally different from narrative fiction in part because they have speakers as opposed to narrators. Perhaps it’s a stretch to nominate the speaker of ‘Lunch Poems’ as a main character, but this book changed things by highlighting the centrality of queer counterpublics to U.S. culture as a whole, and by exploring the joys and risks of everyday intimacy with strangers therein.”
This interview has been edited and condensed.
More in Literature
See the rest of the issue
Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.
Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)
This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.
Here’s the first of its four stanzas, read for us by Matthew McConaughey:
The More Loving One
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Matthew McConaughey, actor and poet
In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.
Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.
Tracy K. Smith, poet
These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.
This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.
The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.
But the third stanza takes it all back. Here’s Alison Bechdel reading it:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Alison Bechdel, graphic novelist
The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.
The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
Yiyun Li, author
Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.
Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.
The last line puts a brave face on heartbreak.
So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.
When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.
Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.
This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.
So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Looking up at the stars, I know quite well That, for all they care, I can go to hell,
Tap a word above to fill in the highlighted blank.
Your first task: Learn the first four lines!
Let’s start with the first couplet. Fill in the rhyming words.
Monday
Love, the cosmos and everything in between, all in 16 lines.
Tuesday (Available tomorrow)
What’s love got to do with it?
Wednesday (Available April 22)
How to write about love? Be a little heartsick (and the best poet of your time).
Thursday (Available April 23)
Are we alone in the universe? Does it matter?
Friday (Available April 24)
You did it! You’re a star.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
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