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USWNT won Olympic gold without Alex Morgan, but her impact extends beyond on-field wins

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USWNT won Olympic gold without Alex Morgan, but her impact extends beyond on-field wins

Editor’s note: This is an updated version of an article to reflect Alex Morgan’s retirement announcement on Sept. 5, 2024. The story was first published on Aug. 1, 2024.

Alex Morgan was inescapable this summer, but not because she went to the Olympics. Whether it’s Coca-Cola commercials or Reese’s Instagram ads, she was on every screen and every device. Sponsors made these deals expecting Morgan to be on the U.S. women’s national team roster for the Paris Games. But when head coach Emma Hayes announced her team in June, the unthinkable happened: no Morgan.

It was a surprise and yet it wasn’t.

Morgan has played for the United States in every major tournament they’ve participated in since 2011. She has won the World Cup twice, worn Olympic gold and bronze medals, and with 123 goals, is eighth on the women’s all-time international goals scored list. She is also on the downslope of her career, having long ago left behind the “baby horse” moniker fondly bestowed on her by senior teammates and becoming the senior teammate herself.

“Putting a squad together, you’re always going to disappoint someone,” said Hayes during a podcast taping for “The Women’s Game” with Sam Mewis. “I think when it comes to Alex, first of all, there’s no easy way to give someone crap news…. The human piece for me is around the delivery of that (news). But also accepting that no matter the situation, there’s always gonna be somebody who doesn’t like the decision.”

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Emotionally, it’s always jarring to see a great generational player sunsetted by a coach. The name “Alex Morgan” has been synonymous with the USWNT for over a decade. But logistically and tactically, there was certainly an argument for leaving the 35-year-old Morgan and taking a newer generation of scoring talent, one that is still bolstered by veteran presence from Crystal Dunn, Lindsey Horan, Lynn Williams and Rose Lavelle.

As the USWNT captured gold against Brazil, there was no question of needing another veteran. Hayes’ preferred starting front three of Sophia Smith, Mallory Swanson, and Trinity Rodman dazzled, with rookie Croix Bethune waiting in the wings.

The end of Morgan’s time with the U.S. was writing on the wall when Hayes first left her off the W Gold Cup roster in February. Morgan was only called in after Chelsea forward Mia Fishel tore her ACL in training. It’s hard not to assign symbolism to the image of Morgan in a differently-numbered jersey, sporting a No 7 in place of her iconic No 13 due to CONCACAF rules about wearing the same number as the player you replace. After 14 years in the No 13 jersey, the number is almost as much a part of her brand as her actual play on the field.

Morgan scored two goals in that tournament, one of them a penalty. It was her first goal in 10 international games, covering more than a year. On Thursday, she announced she was retiring from the sport and expecting her second child. Her final game will take place on Sunday against North Carolina Courage in the NWSL.

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Her on-field role has increasingly become as much about the damage she can absorb as she pulls attention away from other players as it is about scoring. That defensive attention is a hallmark of the respect she has still accorded, the danger she still presents in front of goal. But it’s no longer consistent, varied or efficient enough to justify a spot on the toughest international roster to make, at least not in Hayes’ mind.


Still, in the face of declining stats, there was always the argument for Morgan’s presence as a veteran and a leader. She was, until recently, co-captain with Lindsey Horan, someone whose voice carried authority with both teammates and fans. When midfielder Korbin Albert’s anti-LGBTQ social media posts began circulating widely, Morgan was out in front of the cameras with Horan at her side, reading a prepared team statement about maintaining a respectful space and speaking internally to Albert. It was unquestionably a captain’s job, intercepting scrutiny on behalf of the team, the kind of thankless task that comes with the armband.

Horan has taken leadership lessons from Morgan, too, while she’s still learning on the job as the new, and only, team captain.

“Experiencing a World Cup with Alex was crucial for that experience,” Horan said in New York before leaving for France.


Horan credits Morgan for helping her take on the role of captain (Brad Smith, Getty Images)

Before Horan, Morgan and Megan Rapinoe were co-captains. The two arranged team dinners before camps so the players could bond and have a night out.

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“There are things that exist (that) leaders and veterans on this team have been doing for many years and it’s kind of been passed down,” said defender Naomi Girma, who said that in this iteration of the USWNT, Emily Sonnett and Lavelle arranged the latest team dinner in New York. “Everyone is so special in their own way, so there’s never going to be another one of an Alex or Pinoe.”

Sonnet, who was on the 2019 and 2023 World Cup teams with Morgan and Rapinoe, said the players often do things they think the two former leaders would have done.

“Alex is an incredible leader and she’s been on this team for so many years,” said Sonnett. “Leaders like Lindsey, Mal (Swanson), Rose, they’re definitely remembering things that Alex, Pinoe, who aren’t on this roster, what they would be doing because we’ve just been around them for so many years.”

Alongside her teammates, Morgan was part of historic collective bargaining agreement negotiations that helped pave the way for the USWNT as it exists today, with not just better money and working conditions, but also benefits like parental leave and short-term disability.

She’s spoken up about LGBTQ+ rights, including supporting trans children in sports, and followed Rapinoe in 2020 in kneeling during the national anthem to protest anti-Black police brutality and racism. When she was on loan at Tottenham Hotspur in 2020, she saw the women’s senior team training at an inferior facility and convinced the club to allow the women to use the same new training facility as the men. When Sara Björk Gunnarsdóttir sued her own club Lyon for withholding her salary when she got pregnant, Morgan again advocated for the standards clubs should provide for parents.

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And she feels compelled to speak up as one of, if not the most visible, players wherever she goes, publicly stating she was disappointed to hear about allegations of harassment against Wave president Jill Ellis, writing on X: “It’s important to me that we are creating that environment for both players AND staff throughout the entire organization.”

Morgan’s advocacy for various causes could have backfired in terms of her marketability. But it hasn’t. She is as potent a brand as ever, landing on Forbes’ highest-paid female athletes list in 2023 with endorsements estimated around $7million. In 2021, she founded TOGETHXR, a media and commerce company, alongside Chloe Kim, Simone Manuel and Sue Bird. Her hustle is admirable to the point of pathos. During one scene in Netflix’s “Under Pressure” documentary, she comforts daughter Charlie while Charlie cries for attention in the midst of Morgan opening a soccer store — a reminder of Morgan, the mother.

But the reality of being a woman in professional soccer is that no one, not even Morgan, is going to make enough money to retire without careful, calculated investment and branding. Similarly high-profile men’s players can set themselves up nearly off pure performance. Any man knocking in the kinds of numbers that Morgan has produced in her career will make millions from his salary alone, let alone endorsements.

TOGETHXR is a media and commerce company founded by four of the world’s greatest athletes: Alex Morgan, Chloe Kim, Simone Manuel and Sue Bird.

Morgan has advocated for parental rights at club and national level (Brad Smith, Getty Images)

But Morgan has had to cash in on her clutch, once-in-a-lifetime talent while also leveraging her privileges: she is white, straight and femme-presenting. That makes her a more palatable brand to both businesses and audiences in a country that has a well-documented history of racism, misogyny, and transphobia towards athletes outside of a stereotypical presentation of femininity, athletes like Rapinoe, Serena Williams, Katie Ledecky, Brittney Griner, Simone Biles, and Sha’Carri Richardson. The space Morgan is afforded to speak out and speak up is accordingly bigger compared to Dunn or even Rapinoe, whose outspokenness has incurred criticism that she has weathered through her own unique levels of “not giving a f***.”

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Morgan has admirably walked the line between performance and brand, outspokenness and marketability. She’s presented herself as player, mom and advocate while also guarding her private self.

With someone as famous as Morgan, who partially built her reputation on being a role model, and partially was assigned the responsibility through social expectation of women in sports, there is a natural desire to want to know that authentic, private self. One aspect of her smart marketing has been to give enough of a glimpse into that private life — like the aforementioned scene with Charlie — while maintaining a fairly strict boundary between herself and the public.

Her social media posts about her family are warm and personable but don’t give away any more than Morgan wants to give away. She’s funny and charming on camera and doesn’t mind speaking candidly on social justice topics, but these moments are curated, usually with time to plan ahead. You won’t see the minutiae of her day, the gossip she shares with friends or disagreements with family. Like any athlete, Morgan has a right to privacy and to decide how and when she wants to dole out any piece of herself. And her ability to pick the right how and when has served her well.


Who’s next?

Walking down the street and asking someone to name a women’s soccer player, you might get a mix of Morgan, Mia Hamm, Marta, perhaps Wambach.

In this next era of women’s soccer, is it even harder to climb to generational megastar who carries “only name I know” status? While the women’s game is growing ever more popular, it’s also becoming more competitive and therefore more difficult to separate yourself from the pack. Racking up Morgan-level stats feels harder to reach, although certainly not impossible.

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There are a few American contenders for the crown, based on the performance-personality axes of measurement that Morgan has played so well: that front three of Rodman, Smith, and Swanson.


Swanson, Smith and Rodman have emerged as a scoring trio at the Paris Games. (Photo by Brad Smith, Getty Images).

The trio has already built a strong fanbase, both individually and as a group, over the past few years and will only gain more leverage should they find the ultimate success at the Olympics this summer. American audiences love gold medals, sometimes to the point of extreme valorization, and U.S. Soccer has already scheduled its first post-Olympic friendlies in October against Iceland, no doubt hoping to parade a team of winners.

go-deeper

GO DEEPER

England Women announce USWNT, Germany friendlies

While Morgan’s time on the field is coming to an end, her impact off it is not. She’s still here. Still speaking up. Still feeling responsibility in situations that call for a voice of leadership. The example she sets is the standard many players follow for success.

There is an Alex-Morgan-shaped hole in the USWNT, but it’s also being filled by all types of players in all kinds of ways. Morgan, who fought so hard for the USWNT to be treated with respect, to be set up to win in any circumstances, is in some ways the architect of her own absence. This is a team that can exist without Morgan and that’s ultimately for the good.

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(Top photo: Brad Smith/Getty Images; design: Dan Goldfarb)

Culture

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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