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The long climb back for Fernando Tatis, Jr., once the next 'face of baseball’

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The long climb back for Fernando Tatis, Jr., once the next 'face of baseball’

On May 20 in Atlanta, in the evening game of a doubleheader, Fernando Tatis, Jr. sped 84 feet across the outfield grass in Atlanta and crashed into the Truist Park fence to take away a hit from good friend Ronald Acuña, Jr. The impact knocked him to the ground, leaving significant scrapes.

“That’s the love for the game more than anything else,” Tatis told reporters about the catch afterward. “I knew it was going to hurt.”

Tatis, 25, has always played the game loud, uninhibited. Borderline reckless. He’s known for his leaping and diving catches, for dancing in the outfield and skipping around the bases and stealing home. In 2021, Tatis became the youngest player ever to grace the cover of “MLB the Show.” His jersey sales were among the league’s top three. Young fans tried to emulate his swing and his swagger, copying his epic bat flips and salivating over his shoes.

Tatis’ ever-changing cleats this season are flashy and fun, but the fact that he is a star without a shoe sponsorship deal is also a reminder of what else he is known for now. Two years ago, just months after he signed a 14-year, $340 million contract extension that set a record for a player who hadn’t yet reached salary arbitration, the league found the steroid Clostebol in his system. Tatis, who was on rehab assignment during the failed drug test, was suspended 80 games. He initially claimed the failed drug test was because of a treatment for ringworm, but later apologized for his actions and took accountability.

Once viewed as the future face of baseball, Tatis was immediately dropped by Adidas. Gatorade and Dairy Queen ads featuring him were pulled, and he acquired a new, unflattering label: steroid user.

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Tatis, who was also coming off multiple surgeries, won a Platinum Gold Glove last season, his first in the outfield. But he struggled at the plate, hitting .257/.322/.449 with a 112 OPS+. On the road, Tatis was booed. On the national scale, baseball found other young stars to promote in the 564 days Tatis spent between big-league games.

This season, Tatis, the son of former big leaguer Fernando Tatis, still isn’t hitting as he once did — .244/.328/.412 through Wednesday. But his enthusiasm for the game has returned, and he is feeling more like himself.

“I actually love being under the radar,” Tatis, Jr. said in front of his locker this spring. Then, realizing how surprising that sounds, he dips his head back and cackles. “But also, we can’t deny ourselves.”


Tatis Jr. (homering against the Cubs in April) plays with flair, but off the field, he speaks so softly that teammates often strain to hear him. (Matt Thomas / San Diego Padres via Getty Images)

On the field, Tatis is responsible for some of the game’s most emphatic bat flips, often accompanied by yelling, jumping, or pounding his chest. Off of it, you have to strain to hear him. Behind the animated plays, Tatis is soft-spoken — “sweet,” as first-year Padres manager Mike Shildt puts it.

“I’ve always been quieter than my siblings,” said Tatis who is from San Pedro de Macorís, Dominican Republic. “I like to listen and to laugh.”

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Tatis’ first steps in the big leagues were as a young child, following his dad in the clubhouse in Montreal, toting a tiny bat and taking swings on the field. In New York with the Mets, Sr. would take Jr. to the batting cages and encourage him to talk to the other big leaguers, players like Jose Reyes, Carlos Delgado and Angel Pagan. Tatis Sr. finished his career playing a few seasons in winter ball, and by then, Tatis Jr., already showing signs of being a star, was old enough to pay close attention and hone his skills.

In 2015, at age 16, he signed with the White Sox. They later traded him to the Padres, and by 2019, Manny Machado and then-Padres veteran Eric Hosmer were lobbying general manager A.J. Preller to bring Tatis up from the minors, saying that if the Padres were serious about winning, Tatis needed to be on the team. Preller listened, and Tatis’s career launched in a hurry.

Tatis finished third in NL Rookie of the Year voting that year despite appearing in only 84 games after a season-ending back injury. The following season, he finished fourth in the NL MVP race and was third in 2022. He was a two-time Silver Slugger, an All-Star in 2021, on the cover of “MLB The Show,” and he had his own colorway of Adidas’ Ultra Boost running shoe.

“It was a lot,” Tatis said, looking back at his first few years in the league. “It was a lot more than baseball. I don’t want to say I got misguided, but sometimes I got a little bit distracted.”

Then it all came crashing down. When the news became public that Tatis had tested positive for a performance-enhancing drug, he was at Double-A San Antonio on rehab assignment for a broken wrist from a motorcycle accident suffered in the Dominican during the offseason. The injury occurred during baseball’s lockout, when teams were prohibited from talking to players. Tatis showed up to spring training with the wrist still sore, and a subsequent MRI confirmed the fracture. He was on the cusp of returning when the suspension was levied.

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Reaction to the suspension was swift and visceral. Tatis’ bobblehead night was canceled, his presence almost immediately scrubbed from team videos on the JumboTron. A giant mural of Tatis on Petco Park’s exterior was taken down. The guy baseball couldn’t get enough of was nowhere to be found.

“It’s not an easy situation, reputationally. People are going to make judgments,” Preller said. “He’s had to deal with that in the last couple years.”

When Tatis reported to spring training last year, he was still suspended, but was able to train with the team. He went to work with Padres outfield coach David Macias, who helped Tatis make the transition from shortstop to right field, a move precipitated by the hope that having less action and fewer collisions would keep Tatis, who has had multiple shoulder dislocations and several other injuries in his short career, healthier.

When he returned on April 20, 2023, Tatis — now in right field — had a front-row seat to fans’ hostility. Teammate Nelson Cruz, who was suspended 50 games in 2013 for his involvement in the Biogenesis scandal, became a voice of support, as did Machado. Padres pitcher Joe Musgrove, one of the handful of veterans Tatis first addressed his suspension with, said teammates were quick to move on. But, he told Tatis, eventually he needed to forgive himself.

“You can’t let it linger over your head, ‘I’m known as this cheater and this guy that took steroids and I have to act a certain way,’” Musgrove said. “It’s over. Now move on so you can be the player that you were before the steroid use. He was unbelievable before any of that happened. I continue to believe that he’s going to be a great player after.”

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In 141 games in 2023, Tatis was a great defender — second among outfielders in Defensive Runs Saved (+27) and Ultimate Zone Rating (+12.3) — but he was a more pedestrian hitter.

This past offseason, Tatis returned to the Dominican Republic, and for the first time since he became a big leaguer he played winter ball, returning to his former team, Estrellas Orientales in Lidom. His coach? His father. Though he only played in a few winter ball games, Tatis put on an offensive show reminiscent of his best days.

“I needed that. I needed to play again,” said Tatis.

Said Machado, “It’s given him a chip on his shoulder heading into (this season), which I don’t think is a bad thing.”

Tatis entered spring training more vocal with teammates and in meetings, more confident, free of the uncertainty of how his presence would be perceived.

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“I told him, ‘we’re going to win with you being more outspoken,’” Machado said. “’We need you, people look up to you. If you use your voice, you’re going to lead us in the right direction.’ And he’s been doing it ever since the offseason. He’s definitely matured in a big way.”

Asked what he’s learned the past two years, Tatis said, “things are never as bad as they seem.”

The Padres are asking Tatis to cover more ground in his second season as an outfielder, a way to better utilize his athleticism and also help rookie center fielder Jackson Merrill. In the early going, Tatis has experimented with playing closer to centerfield and deeper.

“He’s going to be able to change the game, robbing home runs and making really athletic plays where he’s leaping over the wall or jumping off it acrobatically,” Macias said. “There’s just not a lot of players like him in the game.”

Tatis’ offense, he and his teammates believe, will eventually return to its peak.

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“The field is like his playground,” said Macias, who was impressed that Tatis took live reps in batting practice before every game last year, an unusual habit in the big leagues. “He’s always trying to create something and he’s never content. He wants to master everything, and because of that you are going to keep seeing a better Tati.”

If 2023 was the Redemption Tour, 2024 feels like it can be about baseball again for Tatis. Even after his suspension, Tatis is still one of the more marketable players in baseball. He’s charismatic, Latino in a sport where nearly half of its players are born outside the U.S., speaks perfect English and plays with a showman’s flair. He has already added new partnerships this year, appearing in an Opening Day ad for Corona and securing a deal with Champs, with a handful of other potential companies being discussed.

For all the ups and downs Tatis’ career has seen, he’s still only 25.

“He’s how old?” Musgrove said.

Cronenworth, 30, laughed when Tatis’s age is mentioned, then said: “I feel like he should be closer to my age.”

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Tatis says he does want to be the face of baseball again, or to at least be in that conversation, but only because that would mean he’s playing at an All-Star level. And along the way, he believes that fans will come to see that there’s more to him below the surface.

“There is still a lot that people don’t know about me,” he said this spring, before grabbing his glove and heading out to the field. “It will come out with time.”

(Top image: John Bradford / The Athletic; Photos: Rob Tringali / Getty Images)

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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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