Culture
Why Mike Tomlin leads NFL's most physical training camp: 'You can't box without sparring'
LATROBE, Pa. — No air conditioning in the dorm rooms. Horsehair-stuffed mattresses. Two padded practices per day, seven days a week, full of live hitting.
For 66-year-old former Pittsburgh Steelers offensive lineman Craig Wolfley, training camp at Saint Vincent College was a “totally different environment” when he suited up in the 1980s under legendary coach Chuck Noll. Every day, twice a day, the Steelers practiced in pads — first with a morning session to work on the running game and later in the afternoon to focus on the passing game.
“They didn’t even dry off your pants and jerseys (between practices),” Wolfley recalled. “It was just sweated up until finally you put (five bucks) in the ball boys’ hands and they would throw it in the dryer for a few minutes before practice.”
Wolfley, now a Steelers radio analyst, joked that he could have a degree from Saint Vincent after all the grueling, six-week camps he attended as a player. But even he heard the old-timers like Andy Russell talk about the marathon, nine-week camps that bruised their bodies and tested their will in the 1960s and ’70s.
“You came together as a team because it was blood, sweat and tears the whole training camp,” Wolfley said. “Chuck Noll training camp was never about making the team. It was about always surviving the moment.”
#FBF to Franco & Lynn at #SteelersCamp, 1983. pic.twitter.com/Qir6iBLMl9
— Steelers History (@SteelersHistory) August 2, 2024
For generations of football players — from Pee Wee to high school to college and into the pros — long, physical days full of hitting were the norm. The more you hit, the tougher you became. At least that was the thinking.
But times change, and so too has the way teams prepare for the season.
Because athletes are now working out year-round, there’s less need to work them into shape in the preseason. At the same time, rules under the 2011 CBA eliminated two-a-day practices. The physicality has also been dialed back dramatically. Today, in many NFL training camps, if you see a ball carrier or a receiver tackled to the ground, it’s usually an accident.
“I don’t know how many NFL teams are full-on tackling,” Steelers quarterback Justin Fields said. “It’s got to be under three, if they are.”
Fields’ observation got us thinking. How many teams engage in live tackling during camp? In an informal poll conducted by The Athletic, 24 of 32 beat writers (75 percent of the league) said the team they cover very rarely or never tackles players to the ground. Four teams tackle in practice sometimes, but typically for short periods with second- or third-team players on the roster’s fringe. Three teams tackle often, including Andy Reid’s Chiefs, Mike McDaniel’s Dolphins and Dan Campbell’s Lions.
Mike Tomlin’s Steelers are in many ways an outlier. When veteran linebacker Elandon Roberts arrived in Latrobe last season for a three-week destination camp, he was, like Fields, initially taken aback.
“I was kind of like, dang, we’re really tackling in camp,” said Roberts, who spent four years with the Patriots and three with the Dolphins before joining the Steelers. “I was cool with it, but I wasn’t expecting it.”
On a typical day in pads, it’s common to see the Steelers engage in periods of full, live tackling. Each practice begins with a drill called “Seven Shots” — seven chances from the 2-yard line — that are often full-tilt with starters like Najee Harris or key rotation players like Jaylen Warren being tackled to the ground. In many other 11-on-11 settings, the Steelers still see the value in live tackling, including short-yardage and goal-line drills. Additionally, twice this training camp, the Steelers staged spirited backs on ’backers drills, where high-speed collisions simulate live pass protection situations.
#Steelers backs vs. backers drill gets chippy at Friday night lights practice! 👀🍿
Elandon Roberts vs Jaylen Warren 😱
Patrick Queen vs Najee Harris 💪🎥: @sltphoto/Instagram pic.twitter.com/CskOe8px1Q
— Steelers Update (@SteelersUpdate1) August 3, 2024
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Now, as the Steelers pack up and move out of their dorm rooms at Saint Vincent on Wednesday, they’ve completed what is likely the most physical training camp in the league.
“You can’t box without sparring,” Tomlin said. “We play an intense game, competitive game, and I’m not doing these guys justice if I don’t create an environment that is reflective of what’s waiting on us.”
In 2007, when Tomlin became the NFL’s youngest head coach at 34 years old, he inherited a veteran-laden team full of many players who hoisted the Lombardi Trophy alongside Bill Cowher in 2005.
During his first training camp in Latrobe, Tomlin set the tone and — in a sense — made a statement that there was a new sheriff in town. This wasn’t Cowher’s team anymore.
“He came in and he wanted to set an example and establish his own toughness,” said former Steelers lineman Max Starks, who played three seasons for Cowher and six years under Tomlin. “He didn’t want anybody to seek comfort. We hit every day we could possibly hit, all the way until Week 13 of the regular season, which was unheard of.”
But over a long season, more is not always better. On a team full of veterans, the pounding took its toll. After starting 9-3, the Steelers fizzled down the stretch, dropping three of their final four regular-season games before bowing out of the playoffs in the wild-card round against the Jacksonville Jaguars.
“He got the appropriate result,” Starks said. “We’re out in the first round of the playoffs, because he had to learn the veteran-ness of this team and understand that we can we can go light in the week and go kill it on the weekends at games.”
Mike Tomlin, right, with Ben Roethlisberger at the coach’s first training camp with the Steelers in 2007. (Joseph Sargent / Icon SMI / Icon Sport Media via Getty Images)
Throughout his time with Tomlin, Starks saw the coach learn from the experience and tweak his approach. While the Steelers still hit often in camp, Tomlin tempered it and learned to take care of veterans with days off. Sure enough, in Tomlin’s second season, the Steelers surged down the stretch, winning six of their final seven to finish 12-4. They rode that momentum to the team’s sixth Lombardi Trophy.
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“He’s not too prideful with taking a step back or (saying), ‘Hey, you know, I can get better at this,’” Starks said. “And that’s why you see the sustained success model that he’s created. It was too hard in the beginning. OK, now pull it back.”
Now in his 17th season and at 52 years old, Tomlin has gone from the youngest head coach in the league to the NFL’s longest-tenured. His first training camp in Latrobe feels like a lifetime ago.
“Man, that was a different time,” Tomlin said. “That was medieval times.”
Even the oldest players on the Steelers’ current roster — Russell Wilson and Cameron Heyward, both 35 — never participated in two-a-days at the NFL level. The approach was banned under the new CBA in 2011, Heyward’s first year in the league and one year before Wilson was drafted. (The NCAA eventually followed suit and ended two-a-day practices with contact in 2017.)
There’s no question Tomlin’s philosophy has evolved, to a degree. In adherence with the CBA, padded practices have been scaled back considerably during the season. Often, if Tomlin makes the Steelers wear pads during the season, it’s to make a point that physicality is lacking on Sundays. Even early in camp, Tomlin will hold out veterans like T.J. Watt, Minkah Fitzpatrick and Heyward to protect them from themselves.
Tomlin also used to intentionally schedule training camp practices during the hottest time of the day to manufacture adversity. He has since changed his approach with a new strength and conditioning staff to practice earlier in the morning when it’s cooler.
At the same time, the coach still very much sees the value in creating game-like situations in Latrobe — and so do the players.
“Just how we do Seven Shots, I don’t think anybody else in the country does that,” Fields said. “The parameters of how practice is ran and just the intensity out of everybody, it’s very competitive out here. And you wouldn’t want it any other way.”
Iron sharpens iron ⚔️
📸: https://t.co/tg8VtjVLDf | @Acrisure pic.twitter.com/EeHTbUWz7v
— Pittsburgh Steelers (@steelers) August 12, 2024
Beyond preparing starters for the season, the physicality of camp is an important evaluation tool. Two seasons ago, Warren arrived as an untouted and undrafted rookie running back with a junior college stop on his resume. In an early backs on ’backers drill, his pad-popping demeanor got the coaches’ attention and ultimately helped him earn a spot on the roster. Now, he’s one of the league’s best pass-protecting backs.
“I love it,” Warren said when asked about the environment Tomlin creates. “Although the days get hard, I love what it brings and what it creates.”
In this camp, especially, the word physicality has been on the tip of many players’ tongues. When the Steelers hired Arthur Smith — who is well-known for his run-heavy, tight-end friendly offenses — the new offensive coordinator made a point to say he wants to have the most physical offense in the league. That buzzword has carried over to the practice field.
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“Whether that’s being part of the run game or getting yards after the catch, he wants all 11 to be physical,” wide receiver Van Jefferson said. “He wants to be a physical offense. He’s instilled that in us from Day 1.”
What will it all mean when they finally start the season? Coaches often say that coaching a football team doesn’t come with an instruction manual. And while there’s no perfect answer when it comes to how much hitting is enough (and how much is too much), the Steelers believe that through their physical approach, they have begun to establish the identity that will carry them through the season.
“Other teams, they know what it is when they play the Steelers,” Warren said. “You can see what we built here.”
(Top photo: Joe Sargent / Getty Images)
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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.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
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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