Culture
The Steelers’ offense has two quarterbacks … and a slew of unanswered questions
CLEVELAND — As the flakes tumbled from the night sky, turning Huntington Bank Field into a snow globe, Pittsburgh Steelers quarterback Russell Wilson dropped back and let it fly.
The pass, thrown with anticipation, found receiver Calvin Austin III on time and on target in the end zone for the go-ahead, 23-yard touchdown. After failing to score a touchdown for more than seven consecutive quarters dating to Week 10 against the Washington Commanders, Pittsburgh had scored two in less than two minutes to take a one-point lead over the Cleveland Browns with 6:15 remaining.
.@DangeRussWilson ➡️ @CalvinAustinIII for six!!!!
📲 Stream on NFL+: https://t.co/COxKRnr6Mc pic.twitter.com/ucLP4kE2cM
— Pittsburgh Steelers (@steelers) November 22, 2024
It was a miraculous comeback. Until it wasn’t.
“The game is never won until you get on the bus,” Austin said after the game. “So it was definitely an emotional moment (after the touchdown). We were all hype and stuff. But we knew we had an inspired team that was about to get the ball back.”
As it turned out, the Browns got the ball back not once, but twice.
The Steelers’ defense did its job the first time, forcing backup quarterback Jameis Winston into an errant pass that cornerback Donte Jackson intercepted with 4:22 to go. But after Pittsburgh went three-and-out — with Justin Fields in for Wilson at quarterback on second and third down — and Corliss Waitman shanked a punt for the first time as a Steeler, the defense couldn’t get off the field again.
Cleveland got the ball back with 3:22 remaining and drove 45 yards in nine plays. The Browns capped the sequence with a 2-yard Nick Chubb touchdown with 57 seconds remaining, then batted down Wilson’s Hail Mary as time expired to stun the Steelers, 24-19.
GO DEEPER
Browns stun Steelers 24-19 in snow as Chubb scores late TD: Takeaways
A team that made a statement by beating the Baltimore Ravens just four days earlier dropped to 8-3, leaving the door open in the competitive AFC North.
“Missed opportunities,” defensive co-captain Cameron Hayward said. “We have to eat it. They made more plays at the end. Some of that stuff we can have some head-scratching about what was on display. Just take it, move on. I know everybody is pretty pissed off about the loss.”
The weighty moments at the end of the game loom large: coach Mike Tomlin’s decision to accept an illegal touching penalty that gave the Browns a second crack at third down on the final drive, then spending a timeout that would be needed later; the coverage on the ensuing third-and-6 conversion; the decision to tackle Chubb on the 2-yard line with more than 90 seconds remaining instead of letting him score to preserve time and get the ball back.
But the reality is this game was lost much earlier, on the other side of the ball.
“We beat ourselves with a lot of mistakes,” Austin said. “That takes all 11 looking in the mirror and just continuing to push details. They’re a good team. Got to give them credit. But at the end of the day, we just got to perform better.”
Two weeks ago, when Wilson erased a 10-point, second-half deficit against the Commanders, it appeared the offense had finally figured it out after years of instability and inconsistency. At the time, the veteran signal caller had led the Steelers to 31.7 points and 382 total yards per game through three starts. If the offense continued along the same trajectory, it was reasonable to consider the Steelers legitimate Super Bowl contenders that could stand toe-to-toe with Patrick Mahomes or Josh Allen.
But it hasn’t continued.
If those first three games showed the explosive upside of Wilson’s moonball, his veteran presence and his ability to make checks at the line of scrimmage, the past two have revealed many of the Steelers’ offensive warts.
It’s certainly not all on Wilson. However, sacks are becoming problematic, putting the offense behind the chains. This was an obvious area of concern the minute the Steelers signed Wilson, considering he led the NFL in sacks taken in two of the previous five seasons. Initially, when he took over for Fields in Week 7, the Steelers did well enough to protect Wilson that it wasn’t a major red flag.
However, in the first half alone on Thursday, Wilson was sacked four times, as the Browns kept the Steelers’ offensive line off balance with stunts and games up front. Three of those sacks came from Myles Garrett, including a strip-sack that set the Browns up on a short field.
Myles strips the ball and we recover it 🙌😤 #PITvsCLE | @NFLonPrime pic.twitter.com/36WalR8R8h
— Cleveland Browns (@Browns) November 22, 2024
Even beyond the negative plays, Pittsburgh’s offense has become too boom or bust. Yes, once again, Wilson’s deep shot was a catalyst. He connected with Austin on a 46-yard bomb up the seam, hit Van Jefferson on a 35-yard gain and found George Pickens for 31 yards. Those big plays helped bolster what was a solid stat line from Wilson, as he completed 21 of 28 passes for 270 yards and a touchdown with no interceptions for a 116.7 passer rating.
The problem is, when the Steelers aren’t producing touchdowns on these deep shots, they’re having a hard time finishing drives. The issues emerged on the opening drive. On third down, Wilson took an 8-yard sack on third-and-2, turning a potential 50-yard field goal attempt into a 58-yarder that the reliable Chris Boswell missed.
The Steelers, who rank 26th in success rate (37.2 percent, per TruMedia) since Wilson took over, tried to use every resource available to keep the offense going. However, another first-half drive was halted on the 40-yard line. This time, they deployed Fields on a fourth-and-2 QB keeper, failing and turning the ball over on downs. The offense also fizzled at the 30 (made field goal), its own 46 (failed fourth-and-1 run by Jaylen Warren) and the Cleveland 9-yard line (made field goal).
“We had some really good, explosive plays down the field, throwing the ball with Van (Jefferson) — he made some great catches — and Calvin (Austin),” Wilson said. “And then we got stalled for whatever reasons. We’ve got to watch the film and see what that was. … We needed one or two more plays.”
Complicating matters is the unique quarterback dynamic. After utilizing the Fields package for three plays on Sunday against the Ravens, the Steelers featured their mobile QB on seven snaps (plus an eighth that didn’t happen because of a false start) on Thursday.
The results were mixed. After coming up short on fourth down early in the game, Fields provided a second-half spark when he kept the ball on a zone read and raced 30 yards along the right sideline. That played helped jump-start the offense, and later in the same drive, the threat of Fields keeping the ball on the zone read helped Warren burst into the end zone to snap the Steelers’ touchdown-less skid and kindle the rally.
Jaylen Warren in for the TD! The @Steelers answer right back.#PITvsCLE on Prime Video
Also streaming on #NFLPlus pic.twitter.com/aDPce0i8CM— NFL (@NFL) November 22, 2024
The Steelers also put the ball in Fields’ hands in a four-minute situation with the lead. It was a reasonable time to play the running quarterback, with the Steelers trying to burn the clock. However, on third-and-4, his deep shot for Pickens sailed incomplete, stopping the clock and giving the Browns plenty of time to score the go-ahead touchdown.
Asked if he would have liked to be in the game in that critical moment, Wilson was somewhat transparent.
“Listen, I always want to be in there,” he said. “That’s just the competitor in me. But at the same time, we have great trust in Justin, our team, our coaches and everything we’re doing.”
It’s also not the easiest challenge for Fields. He said after the game that he felt “kind of stiff” on his 30-yard run after standing on the sideline for the entirety of the second and third quarters, adding he felt he could have scored on the play. Asked if it’s difficult to enter the game mid-stream and virtually without warning, Fields admitted it is.
“But at the end of the day, that’s what my job is,” he said. “So you can’t complain. Anytime I get a chance and an opportunity to go on the field and help my team, I’m happy to do it.”
Sitting behind a keyboard and watching the game from the press box, it’s honestly hard to say what the right balance should be. Fields has often been the Steelers’ best offensive weapon, and his mobility might be able to help them rectify their red zone woes. Using both quarterbacks allows the Steelers to adjust on the fly if the offense needs a jolt or if the opposing pass rush is becoming too big of a factor. On the other hand, it does seem that, at times, rotating quarterbacks can disrupt the passers’ rhythm and timing.
Still, it’s important to remember that the Steelers got to 8-2 thanks to the contributions of both players. If they’re going to prove that this two-game stretch of offensive woes was a blip on the radar, and that this offense can in fact provide an edge in the postseason, they’re probably going to need to continue to use both.
Finding that right balance and rediscovering a way to finish drives will help determine how far this offense — and the team as a whole — goes.
“We’ve got a lot of football left,” Wilson said. “We’ve got a lot of opportunities to respond in the highest way, highest level. I think that everything that we want is still in front of us.”
(Photo of Russell Wilson: Kevin Sabitus / Getty Images)
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A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself — or have a lasting influence on an author. With that in mind, this week’s literary geography quiz highlights the final stops for five authors after a life of writing. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
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.
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.
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?
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.
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.
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.
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.
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.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
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.”
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.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, 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 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?
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.
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.”
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.
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.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
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.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, 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, 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.”
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.
“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.
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.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “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 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.”
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.
“I feel the loss.”
Wheaton remembers River Phoenix.
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.
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.
Near the end
of 1971,
Chris
went into a Chicken Delight 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. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them 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.
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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