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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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Video: The A.I. threat to audiobooks

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Video: The A.I. threat to audiobooks

new video loaded: The A.I. threat to audiobooks

Artificial intelligence has made pirated audiobooks faster to make and harder to detect. Our reporter Alexandra Alter tells us about the latest threat to the publishing industry.

By Alexandra Alter, Léo Hamelin and Laura Salaberry

May 20, 2026

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.

The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.

With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.

“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”

Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.

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In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.

Your work has been categorized as Black romance, but how do you see yourself as a writer?

I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.

What intrigued you about the period of history you capture in the Hollywood Renaissance series?

I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.

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What about that period feels resonant now?

The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.

How does this moment in your career feel?

I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.

Why would it all go away?

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Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.

When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.

Why are you so firmly committed to defending the “happy ending” in romance novels?

It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.

I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.

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You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?

First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.

How does this apply to being a very visible Black author in romance?

I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.

How do you define success for yourself at this point?

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I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.

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How Many of These Books and Their Screen Versions Do You Know?

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How Many of These Books and Their Screen Versions Do You Know?

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 the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.

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