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This 49ers season is effectively over — and Kyle Shanahan bears plenty of responsibility

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This 49ers season is effectively over — and Kyle Shanahan bears plenty of responsibility

SANTA CLARA, Calif. — And in the end, after another postseason heartbreak, after an emotionally exhausting offseason, after the drama-filled holdouts and the gnarly wave of injuries and the personal tragedies, after a star player’s lash-out and, with a team’s hopes hanging in the balance, an infuriating and surreal tap-out, the San Francisco 49ers’ 2024 season finally collapsed under its own weight.

Buried under the wreckage, barely able to speak at an audible volume, was Kyle Shanahan — the man who had the most to do with the 49ers’ failings, and the biggest culprit behind a last-gasp attempt to extend an era that seemed doomed from its inception last February.

Shanahan, the Niners’ eighth-year coach, was standing at a lectern after the defeat that all but mathematically eliminated the defending NFC champions from playoff contention, one that came courtesy of his fiercest professional rival. With a 12-6 victory at Levi’s Stadium on Thursday night, Sean McVay’s Los Angeles Rams (8-6) boosted their playoff hopes while exposing the 49ers (6-8) as a team that lacked the purpose, precision and unity to play beyond the first weekend in January.

In the end, with desperation in the rain-filled Northern California air, Shanahan’s offense couldn’t produce a single touchdown, San Francisco’s special teams were typically sloppy and an uncharacteristically strong defensive effort was marred by veteran linebacker De’Vondre Campbell Sr.’s stunning refusal to enter the game when summoned in the third quarter.

All of that falls on Shanahan — that’s why he sits in the big chair — and he made no attempt to run from it.

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“Not good enough,” Shanahan said of the offensive effort he coordinated Thursday, though the words applied to everything about this defeat and to this challenging season.

Those words also served as an epitaph to a six-season stretch in which the 49ers suffered two excruciating Super Bowl defeats to the Kansas City Chiefs, lost a pair of wrenching NFC Championship Games (including one to McVay’s Rams) and assembled a loaded roster stacked with some of the league’s most talented and resilient players.

Together, they built a formidable foundation, won a lot of big games and at times felt indomitable.

What we witnessed Thursday night was the NFL’s equivalent of rubble — and the group charged with cleaning it up, and rising from it, will look much, much different in 2025 and beyond.

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A tale of two 49ers linebackers: Dre Greenlaw enters, De’Vondre Campbell exits — abruptly

“There’s been a dark cloud over us all season,” veteran cornerback Charvarius Ward told me after the game. “This will be a good offseason for this team to regroup, refocus and try to rekindle the spark.”

Ward, a second-team All-Pro in 2023, is headed for unrestricted free agency next March and is one of the many marquee 49ers who might not be on next year’s roster.

“I don’t know if I’m gonna be back,” Ward continued, “but I know this team is still gonna be great, with or without me.”

That remains to be seen, because Thursday’s faceplant — and, really, this entire season — has underscored how different this 49ers team is from its immediate predecessors.

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Once again: Not good enough. Realistically, not even close.

The NFL is a production business, and Shanahan — who along with general manager John Lynch assembled this group, and was charged with coaching it up — will have to wear the stain of his team’s consistently substandard performances. The Niners have just two victories over opponents with winning records (the Seattle Seahawks and Tampa Bay Buccaneers) and suffered three brutal defeats to division foes after squandering late leads.

On Thursday, with a chance to stay in the NFC West race, they fell woefully short, and produced a lowlight reel in the process.

Wide receiver Deebo Samuel Sr., who complained on social media earlier in the week that he wasn’t getting the ball enough, had a brutal drop that likely cost him a chance to reach the end zone for a game-changing score. The 49ers were penalized for two illegal formation penalties on punts. Shanahan, after Brock Purdy connected with tight end George Kittle on a 33-yard pass early in the game — against a defense that had given up 42 points to the Buffalo Bills four days earlier — got weirdly conservative, calling three consecutive runs in Rams territory and settling for a 53-yard field goal by Jake Moody. And Purdy, coming off his best game of the season, struggled in the rain (a recurring theme) and later threw a brutal end-zone interception with 5:20 remaining and the 49ers in range for a game-tying field goal, essentially killing their chances.


Deebo Samuel had a chance to make a game-changing play for the 49ers. Instead, he dropped the ball. (Thearon W. Henderson / Getty Images)

And, amazingly, none of those gaffes came close to being the night’s most ignominious moment. That belonged to Campbell, a veteran linebacker signed in March as a placeholder for Dre Greenlaw — the passionate playmaker who tore his Achilles while running onto the field after a punt during the second quarter of Super Bowl LVIII, and who finally worked his way back Thursday night to try to help save San Francisco’s season.

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He almost did, before his body betrayed him. The 27-year-old enforcer, one of the sport’s most criminally underappreciated stars, picked up where he left off in last February’s Super Bowl, before the farfetched injury that helped doom the Niners to defeat.

Had Greenlaw been rusty against the Rams, it would have made plenty of sense.

He wasn’t. Rather, he was the best player on the field.

Greenlaw had eight tackles, many of them prolific and sudden and violent, before leaving the game midway through the third quarter with knee tightness. At that point, Campbell was the next man up.

Campbell, however, did not exactly man up.

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Apparently upset over losing his job to Greenlaw — hardly a shocking development to anyone in the 49ers’ locker room, or outside of it — Campbell, according to Shanahan and numerous players, declined to enter the game.

go-deeper

GO DEEPER

49ers’ De’Vondre Campbell refuses to play, quits TNF game in third quarter

“He said he didn’t want to play today,” Shanahan said. Campbell, who eventually was sent off the field and into the locker room — almost certainly never to return — was described as “selfish” by Ward and Kittle during postgame interviews.

“That was his plan,” Ward told me. “He had his mind made up. I mean, it’s crazy. He’s not a better player than Dre. You saw that today — (Greenlaw)’s the engine of our defense, the guy who starts everything for us. But you could see (Campbell’s decision not to play) coming for a while.”

The juxtaposition of Campbell quitting on his teammates with the resilience of players like Ward and rookie wide receiver Ricky Pearsall was staggering.

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Pearsall, shot through the chest during a robbery attempt shortly before the start of the season, missed six games before returning and making his NFL debut. Ward missed three games after his daughter, Amani Joy, died in October, shortly before her second birthday. (Amani Joy was born with Down syndrome and a heart defect that required surgery.)

After Thursday’s game, Ward opened up to me about the trauma he and his family have endured, doing his best to affirm his commitment to his teammates while acknowledging that football isn’t the preeminent force in his life right now.

“It’s been hard for me personally to go to work every day, every game — even to practice or go to meetings,” he admitted. “I almost left a couple of times. S—, I know fans probably hate me (for saying that), but f— it, it’s real life. It’s bigger than football. This is the hardest time of my life for sure.”

In that context, a football team’s lost season pales in comparison. Yet falling short still hurts. Players and coaches channel an extreme amount of energy, intensity and devotion for the cause, and when they don’t reach their goals, they grieve. And that’s especially true for the head coach.

In the coming weeks and months, Shanahan will have to be real with himself as he reckons with how it all went wrong, and how he and Lynch can try to make it right in 2025, and in the years that follow.

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In the meantime, there are three games to play, none of which will likely matter. While noting that the 49ers are technically still in playoff contention, reaching the postseason would require a series of hugely improbable outcomes, and Shanahan acknowledged that the dream of finally winning a championship with this incarnation of his team is basically over. “They say mathematically we still have a chance,” he said. “I’m not too concerned with that right now. … I want to come back and play better football and challenge the character of our team.”

Clearly shaken, Shanahan almost looked as though he had seen a ghost — which, metaphorically, was kind of true. Across the sideline Thursday night was the coach’s former franchise quarterback, Jimmy Garoppolo, now a backup to the Rams’ Matthew Stafford. And, of course, there was McVay, a former Shanahan assistant who has since challenged him for coaching supremacy, capturing the Lombardi Trophy that has eluded Shanahan and, after bottoming out in 2022, deftly reshaping the Rams on the fly in each of the past two seasons.

Last Sunday, McVay schemed up an offensive outburst that fueled a 44-42 upset victory over the Bills and kept the Rams in hot pursuit of the Seahawks (8-5) in the division race. On Thursday, after L.A. cornerback Darious Williams picked off Purdy’s overthrown deep ball for Jauan Jennings in the end zone with 5:20 remaining, McVay and his players became the closers that Shanahan and his 49ers have struggled all season to be.

When the Rams took over at their own 20-yard line up 9-6 with 5:20 remaining, McVay had no intention of giving the ball back.

“That’s the responsibility I felt,” he said as he walked from the visitors’ locker room to the team bus late Thursday night. “Now, (the 49ers) have a say in that, too.”

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Soon, the Rams silenced them. Thirteen plays, 69 yards and only two third downs later, Joshua Karty kicked his fourth field goal to make it a six-point game. Only 20 seconds remained, and the 49ers’ last, desperate gasp ended when Purdy was sacked by Christian Rozeboom at his own 44-yard line with no time remaining — in the game or, for all intents and purposes, the season. Or the era.

“This wasn’t an easy win,” McVay said. “Their defense was really, really good; they were flying around all night. And the elements made it really tough, especially in the first half. But this is a mentally tough team. I like our resilience. I like that we can win in different ways. I like what we’re made of.”

Those used to be sentiments that Shanahan, in all sincerity, could express about his team. In 2024, if he’s being honest, they no longer apply. Shanahan’s players and assistant coaches bear plenty of responsibility, but most of all, it’s on him.

In 2024, the 49ers weren’t good enough, and neither was he.

(Top photo: Kelley L Cox / Imagn 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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