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Watching four games in four days – and what it revealed about the new Premier League season

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Watching four games in four days – and what it revealed about the new Premier League season

It’s off and running: Premier League season 33 has kicked into action and should the title race goes the distance, nine months and one week from now we will know if, on the banks of the Thames at Fulham, Manchester City have confirmed a fifth consecutive triumph or, at Southampton, if Arsenal have become champions for the first time in 21 years.

Or will Liverpool be celebrating Arne Slot’s first season on the last day at home to Crystal Palace? Could an outsider flourish?

There are familiar faces — James Milner and Ashley Young made their debuts in Premier League season 11. There is freshness, too, in Ipswich Town’s return after 22 years. Brighton & Hove Albion, Chelsea, Leicester City and Kloppless Liverpool all have new head coaches. Some clubs have new sporting directors and recruitment heads as well. It’s an evolving league in a developing industry. And in the stands, it remains packed out.

In total, 307 players appeared across the four-day weekend. Young’s sending-off was one of two red cards shown, on top of 38 yellows. There were 20 goals, one from a penalty kick.

Yet City’s long dominance means that, while there was much enthusiasm, there is an underlying tension that will not be eased (depending on the outcome) until those infamous 115 questions are addressed.

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That figure hangs in the air, like Mikel Arteta’s joke about 114 points. Then there are questions of club owners, ticket prices and kick-off times, not to mention the video assistant referee (VAR) system and a new handball interpretation. Some of this came up as The Athletic spent Friday to Monday moving from Manchester United to Arsenal to Chelsea and then, finally, finishing in Leicester.

Conversations veered from names such as Joshua Zirkzee to Bukayo Saka to Raheem Sterling. There were unexpected detours into Manchester’s Suffragettes and Henry VIII’s view of St Paul’s cathedral.

But did we get any answers?

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Friday night, Old Trafford, and as the Munich clock shows 7.55 a Manchester United fan in an old traditional kit scurries by like so many rushing to make kick-off. It says ‘Edwards’ on the back above the No 6.

As the music booms from inside the stadium — This Is The One by the Stone Roses — outside the East Stand there are still around 200 Fulham fans waiting to get in. They are chanting their version of Country Roads — “Craven Cottage, by the river…”

Despite all the speculation, Erik ten Hag is still the man in the Old Trafford dugout and the opening words of his match programme notes are: “As we kick off the 2024-25 season this evening, I hope you are all as excited as I am.”

Well, Erik.

Ten Hag goes on to list new signings for his squad, such as Zirkzee, and also in administration — Dan Ashworth, Jason Wilcox — and adds: “I am very excited to see where this new energy takes us.”

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Yet Friday morning’s newspaper headlines had featured Ten Hag’s phrase from his Thursday press conference — “not ready” was his verdict on United — and as the game starts there is another familiar sight, that of United struggling for rhythm, creativity, cutting edge. After 19 minutes, the Stretford End breaks into a chorus requesting the Glazer family leave the building — it is 19 years since they arrived.

In the directors’ box on a rare visit, majority shareholder Avram Glazer is surrounded by the new faces of Jim Ratcliffe’s takeover (partial). The Glazers have heard these chants many times before. They have not left.


Avram Glazer in Old Trafford’s directors’ box (Carl Recine/Getty Images)

But others have gone. Not far away, across the Trafford Road Bridge, one of them, Matthew Haley, is talking about it. Haley was 23 in 2005 when he decided he could physically support Manchester United no more and he departed with thousands of others to help form the protest club FC United of Manchester.

There were those who said ‘FCUM’ would not last until Christmas but here they are, three games into their 20th season, with their own stadium in north Manchester, an academy, a women’s team, 2,000 members and three full-time staff. They play in England’s seventh tier, the Northern Premier League. They play in red, white and black.

One member, one vote, FC United own themselves, but who in 2024, Haley is asked, owns football?

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“Well, where to begin?” he replies. “The very wealthy, don’t they? They control it, they make the decisions.

“But ultimately, it is the people’s game, isn’t it? The reason football is as popular as it is globally is because working-class communities put their passion into it. As the saying goes, ‘football without fans is nothing’, and it’s so true.

“But over the years, big businesses have got a bigger stake and their best interests — and those of TV companies — are placed ahead of the fans.”

Haley is not here to congratulate FC United, but 20 seasons is “significant”. He says the club has endured because of Mancunian spirit: “Partly bloodymindedness, there’s a lot of stubborn people at FC United. And Manchester, it’s a city of protest — the Suffragettes, the trade unions.


FC United of Manchester fans set up their club in protest at the Glazers’ ownership (Tim Markland/PA Images via Getty Images)

“At the time, I don’t think there was a grand scheme to go on for 20 years. But a lot feel they didn’t leave their football club, their football club left them. It was a protest first and foremost and a way of keeping that protest going.”

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FC United do not own protest — angry current United fans invaded Old Trafford in May 2021, forcing the fixture with Liverpool to be postponed, for example. At ‘FC’ there is still interest in all this and “cautious optimism” that Ratcliffe could bring positive change.

Endurance, of course, was well-known at United under Sir Alex Ferguson. Back at Old Trafford, one year after Raphael Varane had scored a late winner against Wolverhampton Wanderers — and Andre Onana got away with a clumsy right hook — Ten Hag introduces Zirkzee. And with an 87th-minute left-foot jab, Zirkzee floors U.S.-owned Fulham.

“We’re top of the league,” says a fan walking away, laughing at himself.


Saturday, north London: there is a broad and understandable sense the Premier League’s return has lacked some hype and anticipation. The European Championship and Copa America did not end until mid-July and were followed by the Olympics. There has been almost no time away from football and sport. It follows us everywhere.

But passing through thronged Upper Street, turning onto equally thronged Holloway Road, amid a red tide bound for Arsenal — and on a beautiful summer’s day — the new-season buzz was inescapable. Maybe it was the throwback 3pm Saturday kick-off, maybe it was last season and how close Arsenal came to ending City’s domination. But the Arsenal stadium was a happy place.

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Arsenal fans are in positive spirits, and no wonder (Adrian Dennis/AFP via Getty Images)

Can it be more than that?

Seasons sometimes bleed into each other — Ferguson’s United players recall him beginning the charge for the 2013 title on the bus home from Sunderland in 2012 after hearing of City’s Aguero moment. On Friday, Arteta spoke of a post-season dinner and how that near-success can help propel this season. He refers to the players, the club overall — and “how we feel playing at Emirates Stadium is another one”.

Arsenal have not been champions since leaving Highbury for the site at Ashburton Grove and the new stadium has been a drag on finances and, until the club’s recent revival, the subject of hot debates over tepid atmospheres.

If Arsenal are to displace City, then feeling comfortable and superior in their own place is essential. The squad has barely altered and Arteta has it training there more often. It is the sort of marginal gain Arteta calls “huge” and brought back Jurgen Klopp’s phrase when reflecting on Liverpool’s unsuccessful and successful title challenges: “Minutes, millimetres, inches decided things.”

Klopp was correct: in 2021-22, his Liverpool were unbeaten at Anfield and still finished second to City. In 2016-17, Tottenham were unbeaten in their last season at White Hart Lane, racking up 53 points at home, yet came second to Antonio Conte’s Chelsea.

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On Saturday evening, after a sometimes convincing 2-0 victory over Wolves, Arteta explains his summer tour reference to “114 points” as a jokey response to the question of what Arsenal require to be champions. It will probably be 90 points or above and that generally means getting around 50 at home (though, in the Covid-19 disrupted season, City got only 41 at home; they still triumphed).

Arsenal’s points tally at home has gone from 41 to 45 to 47 over the past three campaigns. They lost twice last season, to Aston Villa and West Ham United. So there is room for home improvements. Admittedly, there is not much for error.

Therefore, Saturday was a solid start in terms of points. In terms of atmosphere, it was also encouraging. There is a newish, curious demand that grounds should be hostile, teeming with noise for 90 minutes regardless of the state of the game, the home team’s performance or the opposition: hence the recent importation from Europe of numbing drummers. “Un-British” as someone called it on Saturday.


Arsenal fans salute their team (Eddie Keogh/Getty Images)

Arsenal have drums and ‘ultras’ — mocked by Wolves’ fans — but after Arteta’s continuity XI imposed themselves in the visitors’ half from kick-off, their aggression was met with the rising volume set off by the drumbeat and spiralling around the stadium. The first Arsenal corner excited some, then Saka was close with a shot and when Kai Havertz nodded in on 25 minutes, the stadium was already alive with noise. The supporters were feeding off the team and vice versa. It was no library.

It is best not to pretend it was a night match at Galatasaray or Marseille or Rangers, but it was animated and loud. And that’s OK.

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After Saka scores a sharp second and the final whistle blows, Wolves manager Gary O’Neil calls this “such a tough place to come” and while he may have been commenting on Arteta’s players’ first-half attitude, he also mentions that “everybody knows these Arsenal fans are smelling another title charge”.

On top of that, all Gunners will be delighted to hear, O’Neil describes this red corner of north London as “an intimidating place”.


Sunday afternoon, west London and one year on from Chelsea displaying their new manager on the front cover of the matchday programme — Mauricio Pochettino — there is a picture of an 11-player huddle minus Pochettino’s successor, Enzo Maresca. But then, as well as managers, Chelsea do like accumulating footballers.


Contrasting matchday programmes, featuring Mauricio Pochettino (left) and the class of 2024 (Michael Walker/The Athletic)

In August 2023, Pochettino was the Chelsea ownership’s third head coach hire (including caretaker managers) in the 15 months since Clearlake Capital acquired the club. Roman Abramovich’s assets had been frozen by the British government in March 2022.

Previously, there was Graham Potter and Frank Lampard for those who, reasonably, may need memories refreshed. Now it’s Maresca trying to maintain order, or the impression of it, and Raheem Sterling’s pre-match statement is an example of the seeming impossibility of that task.

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One year ago, before Chelsea faced Liverpool here on the opening day, the CFCUK fanzine called the situation “carnage” and the author of that description, Charles Rose, is in a pub elaborating.

Rose watched his first Chelsea match at Stamford Bridge in April 1968 — against Manchester City — and is a typical, ordinary Chelsea fan, in one sense. In another, as the former chair of the Chelsea Pitch Owners PLC, Rose has a deep knowledge of the club and considered opinions on who owns football in 2024.

“Well, I know who it isn’t,” he replies to the big question, “it’s not the fans. Has it ever been? That’s debatable. But it’s gone further away from the fans than ever before. It used to be owned by patrician local owners, the successful butcher or businessman who wanted to do something for their town. It’s moved to being a geopolitical game, it’s moved to stratospheres beyond what we could ever have imagined.”

The Chelsea Pitch Owners (CPO), as the name suggests, understand ownership. Formed in the 1980s when it looked as if Stamford Bridge would be sold to property developers, supporters came together and bought the land. The CPO owns the pitch, the stands and the megastore. To take them over requires a 75 per cent vote in favour from shareholders and the closest anyone has come is 61 per cent — Abramovich.

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What did Abramovich own then?

“He owned the club itself, the players, and the valuable thing at Chelsea is the marketing,” Rose says. “Chelsea’s value is in its worldwide marketing, that’s what clubs are striving for.”

It is the same for Clearlake, who cannot redevelop the stadium without consultation with CPO, who know details such as Henry VIII’s 16th-century law on being able to see St Paul’s cathedral from various points around London, one of which is in the sightline of Stamford Bridge.

There is minimal contact with the new owners and Rose says, as a fanbase, Chelsea “had a sense of ownership then (in the past), and I still do, I talk about Chelsea in the first person, as ‘us’. But it’s never been more remote than it is now. They’re stripping the essence of what we think of as the club.”

Blue is indeed the colour.

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Rose offers the losses of Mohamed Salah and Kevin De Bruyne as examples of Chelsea’s overstocking and misjudgement of squads, so he probably isn’t amused when Mateo Kovacic, who left Chelsea for City in June of last year, curls in City’s second goal to secure, as predicted, the three points.


Manchester City park the bus at Stamford Bridge (Michael Walker/The Athletic)

As jubilant City fans walk along Fulham Road, past their team buses (plural) they are taking photographs of the ‘CHAMPIONS 4-IN-A-ROW’ livery, while taunting their rivals back in Manchester with this season’s terrace favourite climaxing:

All that money you spent
Since Ferguson went
And you’ll never win four in a row.

City stroll on. Chelsea play Servette of Switzerland in a Europa Conference League qualifier here on Thursday night.


Monday night in the East Midlands: it is past 10pm and Steve Cooper, his Leicester City players and mascot Filbert the Fox are still on the pitch. In the stands, supporters are on their feet. The applause is mighty. These are sights and sounds to behold for a stadium that does not reveal the clear belief Leicester can compete.

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And after 45 minutes, those who think it’s all over for the three clubs promoted from the Championship, even before the first weekend is done, are having their opinion justified. Tottenham run away with the first half, scoring once, forcing corners every four minutes or so. There is evidence to support the motion.


At least one Leicester fan was fired up before kick-off (Plumb Images/Leicester City FC via Getty Images)

Leicester are losing heavily in lots of ways except the scoreline and the assumption is they, like Ipswich and Southampton on Saturday, will make it three defeats for the promoted trio, possibly without scoring a goal between them.

But football really is that funny old game cliche at times and Jamie Vardy really is that funny old striker. “Not normal” is Cooper’s phrase about Vardy’s fitness at 37.

He is still doing it, leading from the front, cajoling, battling, closing down and then when it matters, putting the ball away. Vardy’s goal here early in the second half, from his first chance, will not go down as one of his classics from his epic Leicester City seasons. But in the context of the night, in the context of the club’s mood and the promoted clubs’ perspective, it really matters.

go-deeper

Leicester fans left in the rain with hope; their fear was it would be with resignation.

“I’ll look at the first half because that’s my job,” Cooper says, late into the night. “But to do what we did in the second half in a really good atmosphere… it’s not a win but we’re up and running. It’s more than just a half-decent result.”

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It does feel that way and the result is not just important for Leicester. It will have buoyed Ipswich and Southampton, too. It is premature to deduce too much but, faced with the Premier League clubs who finished third, fifth and seventh last season — Liverpool, Spurs, Newcastle — the promoted three conceded only four goals between them.

In 2024, there is a recency bias to the perception the three teams from the Championship will go straight back down. Last season, Burnley, Sheffield United and Luton Town were relegated having come up in 2022-23. The pessimism around the prospects of Leicester, Ipswich and Southampton are not without foundation.

This weekend 12 months ago, Luton lost 4-1 on their Premier League debut, Burnley conceded three without reply at home to City and did not win in the league until beating Luton in October. Sheffield United lost at Bramall Lane to Crystal Palace and did not win until November.

So when Ipswich’s lunchtime loss to Liverpool on Saturday is followed by Southampton’s at Newcastle, albeit narrowly, optimism dips. Yet Ipswich’s 38 per cent possession at Portman Road tells a story and Southampton’s 78 per cent at St James’ Park tells another.

The focus shifts to Leicester. In the first 15 minutes, Spurs seize almost 70 per cent of possession, win five corners and have one effort cleared off the line. It looks ominous.

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But then Vardy strikes, Spurs disappear and maybe some recall that last season was only the second time in the Premier League era that all three promoted clubs went straight back down (1997-98 was the other).


The mood was transformed at Leicester by Jamie Vardy’s goal (Plumb Images/Leicester City FC via Getty Images)

In the past seven seasons, Brighton, Wolves and Brentford have established themselves in the middle class. Bournemouth have rebounded from a relegation and it appears Fulham and Nottingham Forest might be able to cement their status.

Each acts as an example of what Ipswich and other clubs can do. They are also barriers to promoted clubs’ progress. That is the fight. Leicester know its scale more than most.

The weekend stops here, with one last question hanging: what are Tottenham?

(Top photos: Getty Images; design: Eamonn Dalton)

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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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