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The secret of Patrick Mahomes and Andy Reid’s creative partnership: ‘Let’s see how far we can take it’

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The secret of Patrick Mahomes and Andy Reid’s creative partnership: ‘Let’s see how far we can take it’

In the days before his first Super Bowl, Patrick Mahomes was on a practice field with a small group of offensive players and coaches while the rest of the team worked on special teams.

In Mahomes’ early years as an NFL quarterback, the Kansas City Chiefs’ special teams period had become his personal lab — the time he could push the boundaries of what was possible, breaking rules, inventing plays, experimenting with new mechanics. Chiefs coach Andy Reid had a phrase for that way of thinking: “I’m giving you the keys,” he’d say.

At practice before the biggest game of his young career, Mahomes turned the keys and floored the gas. As he sprinted out to his right, he pulled the ball down and went full Magic Johnson, flinging a behind-the-back pass to tight end Travis Kelce. Deland McCullough, the Chiefs’ running backs coach at the time, watched in stunned silence.

“I’m not talking about Travis being 10 yards away,” McCullough said. “Travis might have been 25, 30 yards away.”

It wasn’t the last time Mahomes flirted with a behind-the-back pass. He teased the possibility in interviews and lobbied Reid to let him try it in a game, convinced he could pull it off. Last season, former Chiefs receiver Marcus Kemp was so sure that Mahomes still wanted to attempt a behind-the-back pass that he was hesitant to talk about it.

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“I think Pat is still trying to get it in,” Kemp said. “He has been for probably three years now.”

When Mahomes finally pulled it out in the preseason, finding Kelce against the Lions on Aug. 17, the internet did its usual thing. But the most revealing reaction came from Reid, the man who loaned Mahomes the keys years ago.

“I’ve been telling you to do that for a while,” Reid told his quarterback.


The Reid-Mahomes partnership is already one of the most successful in NFL history.

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In the six seasons since Mahomes became the full-time starter, no team in the league has won more games or scored more points. There are also the three Super Bowl trophies, the six straight appearances in the AFC Championship game and the prospect this season of the first Super Bowl three-peat, but the relationship is more than results. It is an innovative force more in line with Lennon-McCartney or Wozniak-Jobs, a prolific duo that thrives on creative collaboration.

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Mahomes says he improvised behind-the-back pass

Reid, the 66-year-old son of a Hollywood set designer, doesn’t want his players to color outside the lines; he wants them to expand the boundaries to somewhere off the page. Mahomes, the 28-year-old son of a major-league pitcher, doesn’t just want to excel at quarterback; he wants to reimagine what the position looks like.

“(Reid) has made this environment around him where he keeps people around who he believes have the same core values,” Kemp said. “I do believe he brought in Pat for that reason.”

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“That environment was like, ‘Wow,’” McCullough said. “The juices were always flowing.”

Reid pushed Mahomes to think bigger from their first practices together in 2017. “I want you to stretch the offense,” the coach would tell his quarterback again and again.

That meant taking deep shots. Forcing tight-window throws. Exploring what was possible, even if it meant Mahomes might occasionally fail.

“Let’s see how far we can take it,” Reid would say.

As the two became more comfortable with each other — and as Mahomes displayed rare talent — they fostered a creative energy that allowed them to bring the most out of their individual abilities. Reid was the offensive guru who would try anything, the kind of tinkerer who once put a 350-pound nose tackle at running back and implored his assistants to follow a simple rule: “Don’t Judge.” Mahomes was the quarterback who believed he could pull off anything, a risk-taker who unleashed his first no-look pass during the fourth quarter of a close game in college.

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Veteran players in Kansas City began to notice something in the early years.

“That youthful exuberance that Pat has has rubbed off on Coach and gave him some extra life,” said Mitchell Schwartz, a former Chiefs offensive lineman. “Because he didn’t have to be quite so regimented. He had this guy who was able to do what he wanted to do.”

Reid’s willingness to explore allowed Mahomes to tap into the full depth of his unique and often unconventional skills. When Mahomes was backing up Alex Smith in 2017, he ran the scout team. One day, Reid whistled and called over Brad Childress, then the team’s assistant head coach. Reid told Childress to pull out his play sheet and start marking plays: “Play 3, Play 5, Play 6, Play 8 … ”

Reid had just witnessed Mahomes throw at least four no-look passes, bewildering veteran linebacker Justin Houston and the rest of the first-team defense.

“Justin Houston’s reaction — it was unbelievable,” Childress said. “He looked in the flat. He looked at the quarterback. He looked where the ball got completed. He looked at Coach Reid. He looked back at the quarterback. He looked back at the flat. He’s like: ‘What just happened?’”

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Reid kept his poker face. Just watch the film of those plays, he told Childress. But Childress had been around long enough to know: Reid was hiding a smile.



Patrick Mahomes confers with Andy Reid before Super Bowl LVIII in February. (Harry How / Getty Images)

When Schwartz played for the Chiefs from 2016 to 2020, the team held a walkthrough practice on Tuesday after they watched film. Players wore regular clothes. No cleats. Pretty casual vibe.

There was one unique feature: Every week, Reid wandered around with a little piece of paper scribbled with new plays even his assistant coaches hadn’t seen before. To players and coaches, Reid looked like a man weaving through a full-sized chess board, pulling receivers into new spots, moving a tight end a few yards this way, trying to visualize the geometry.

It wasn’t a solo process. Reid would hold a notecard up in the huddle, allowing players to, as Kemp said, “figure it out in their mind.” Then they would line up. Usually the play didn’t even have a name.

“He might go through seven or eight things and maybe four of them make the cut,” McCullough said.

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The process felt so elemental — as if a play was being invented in real-time — that it demystified the process. Players were empowered to offer their own suggestions and tweaks. It was exactly what Reid wanted.

“That’s where Patrick started to feel comfortable enough to create those plays by himself,” Kemp said. “It was seeing the head man do it and work through it on the field. You didn’t have to have a perfect play that you had to bring to him.”

Under Reid, the Chiefs are famous for mining plays from anywhere: friends, rivals, college games, the 1948 Rose Bowl. Even from insane-seeming ideas during walkthroughs.

“I feel like Coach just kind of observes stuff Pat does during practice having fun and is like, ‘Hmm, that could be pretty cool,’” Schwartz said.


The most outside-the-box collaboration of the Reid-Mahomes era came on Jan. 7, 2023. That was the day the Chiefs ran “Arctic Circle” — otherwise known as the “Circle of Death” — a play that began with a spinning huddle and descended into pure anarchy.

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Running back Jerick McKinnon lined up in the shotgun, ran a run-pass option, then flipped the ball to Mahomes, who stopped and threw the ball back across the field to receiver Kadarius Toney, who scampered into the end zone only for the touchdown to be wiped out by a holding penalty.

The plan was pure razzle-dazzle, but the spinning huddle was even weirder. The only people who weren’t fazed were the players on the field.

“We had seen it for pretty much for the entire year in different capacities,” Kemp said.

The play had been born at a series of Saturday walkthroughs, when the Chiefs would run through a list of Hail Marys and end-of-game trick plays. After running many of the same looks for four or five years, the staff started looking for ways to spice it up.

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“That’s a time for Pat and the entire offense to get creative,” Kemp said. “It doesn’t really matter if it’s legal or not.”

At some point, someone wondered: What if we all started spinning in a circle before breaking the huddle?

What looked like chaos was actually a finely edited script: Reid took a weird idea and broke it down step by step, one of the hallmarks of his success. “He’ll poke out the details of it so he can teach it over and over and over again,” Kemp said. “He told everybody specifically what direction to turn and when to break and who was going to call it and where the receivers needed to end up and how they needed to do specific things. I think that’s why it worked out: details.”

After several Saturdays of tinkering and perfecting the circle-of-death concept, Reid signed off: Let’s put it in.

Of course, Mahomes has the kind of talent that makes any idea seem like a good one. “Pat is one of those dudes that is really good at a lot of things he does,” Kemp said, “so he’ll do something randomly and it will just click for him or a coach and they’ll find a way to incorporate it.”

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When Mahomes took over as the starter in 2018, he started lobbying to throw a shovel pass underhand because he thought it would disguise the play better than a traditional shovel pass. When the timing didn’t work, Reid built a new formation over the course of two or three weeks so it would.

The play became a staple.

Around the same time, Mahomes started making center Austin Reiter practice snaps on the run. It began as another fun practice experiment, but soon enough the quarterback was asking assistant coach Tom Melvin if it was legal, and then he took it to the finishing lab — the special teams period — where he worked on plays with Kelce. All that was left was Reid, who installed a play called “Ferrari Right.”

“Coach Reid knows that fine line where he’s just crazy enough but just safe enough,” said Anthony Gordon, a former Chiefs quarterback.

“It was never a tense environment,” added Matt McGloin, another former quarterback. “It was always fun. It was always exciting. You were always learning, which was incredible. It was always a big collaborative effort.”

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One day before the 2018 season, Mahomes and Reid ran through a play sheet for an upcoming preseason game. Mahomes had made one career start, against Denver the previous year, and Reid was in his 20th season as an NFL head coach. But when Mahomes said he didn’t like one of the plays in the game plan, Reid crossed it off.

“That’s the confidence that Andy had in his players,” McGloin said.

Six years later, the partnership thrives.

On the eve of last season’s AFC Championship Game in Baltimore, Mahomes sat in another meeting with Reid as the team’s offensive staff talked through end-of-game plays. If they needed to convert a third-and-long to win the game, Mahomes said he wanted a play that could beat man-to-man coverage and counter the Ravens’ pressure.

The next night, the Chiefs led the Ravens 17-10 with 2:19 left. It was third and 9. Mahomes walked over to the sideline.

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“Give me the ball,” he said.

Reid knew the play Mahomes wanted. He handed the keys to Mahomes again.

The Chiefs lined up three receivers to the left, the Ravens showed Cover Zero, and Mahomes found receiver Marques Valdes-Scantling on a deep shot over the middle, sending Kansas City back to the Super Bowl.

(Illustration: Meech Robinson / The Athletic; photos: Ryan Kang / Getty Images; David Eulitt / 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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