Culture
Wim Fissette and Iga Swiatek’s partnership: What to expect and how he coaches players
What happens when you pair the best player on the WTA Tour with one of its most decorated coaches?
That was the question in October, when then world No. 1 Iga Swiatek brought on Wim Fissette as her head coach. Fissette, a cerebral 44-year-old from Belgium, is widely considered one of the top coaches on the women’s tour after achieving so much success with such a range of players.
Fissette, who never cracked the top 1,000 as a player in the 1990s and early 2000s, has excelled as a coach ever since his first job with compatriot Kim Clijsters. At 29, he coached Clijsters when she won the 2009 U.S. Open having only just returned from maternity leave, and was in her corner for three major titles in total.
He has since coached an all-star list of players, taking in Sabine Lisicki, Simona Halep, Victoria Azarenka (twice), Petra Kvitova, Sara Errani, Johanna Konta, Angelique Kerber, Zheng Qinwen and most recently Naomi Osaka. Fissette and Osaka split in September when she replaced him with the other most celebrated coach on the WTA Tour, Patrick Mouratoglou.
Under Fissette’s guidance, Osaka won the 2020 U.S. Open and 2021 Australian Open, taking his Grand Slam total as a coach to six after Kerber’s Wimbledon win of 2018. He also took both Lisicki (2013 Wimbledon) and Halep (2014 French Open) to their first Grand Slam finals. In 2017, he helped Konta win the WTA 1000 Miami Open and reach the Wimbledon semifinals for the first time, achieving a career-high ranking of No. 4.
His first tournament with Swiatek sees him tasked with defending a title and helping to orchestrate a possible return to the top of the world rankings after she relinquished the No. 1 slot to Aryna Sabalenka having dropped points for missing mandatory tournaments. She opens her WTA Tour Finals campaign in Riyadh, Saudi Arabia against Wimbledon champion Barbora Krejcikova, in a round-robin group also containing Coco Gauff and Jessica Pegula, the latter of whom Swiatek thrashed to win last year’s event in Cancun, Mexico.
Despite his reputation and glittering CV, Fissette has remained largely anonymous, in one of few sports where it is possible for an elite coach to keep a low media profile. It’s players who conduct post-match interviews and press conferences, unlike football in which, while players will speak, it’s the manager’s opinion and feelings that are sought after every win, draw, or defeat.
Wim Fissette and Iga Swiatek’s first event together is the WTA Tour Finals. (Robert Prange / Getty Images)
Speaking to those who have worked with Fissette and seen him operate up close, as well as sources close to Swiatek, some of whom have spoken anonymously to protect relationships, The Athletic has taken a deeper look at how the Belgian operates to understand one of the most exciting coaching partnerships in recent memory as it moves from the practice courts to a stadium for the first time.
GO DEEPER
After two years of chaos, Garbine Muguruza seeks WTA Tour Finals normality in Riyadh
There is an alchemy in the coach-player relationship that makes it not always so easy to predict, even with someone as experienced and adaptable as Fissette. Players frequently talk about their partnership with a coach in romantic terms, making the point that sometimes you click with someone, sometimes you don’t.
And every player needs a different kind of coach. At the Laver Cup in September, the American world No. 15 Frances Tiafoe explained his partnership with new coach David Witt, who formerly worked with U.S. Open finalist Jessica Pegula and before that Maria Sakkari.
“I’m definitely a unique personality, especially in this sport, and someone needs to push me and hold me accountable but also make it fun for me,” Tiafoe said in a news conference.
“I’m a guy where, if you come at me with a drill-sergeant-type mentality, I’m going to go the other way.”
“So much is about the chemistry,” Daniela Hantuchova, the former world No 5 said in a recent phone interview.
“I always felt that you could never tell how it would feel with a coach until you’d worked with them for a few months and you understood their personality, and how they work.
“He (Fissette) is a very impressive coach but just because it works for someone else doesn’t mean it will work for you. It’s very personal.”
When Swiatek split with coach Tomasz Wiktorowski in early October, well-placed sources within women’s tennis tipped Fissette to replace him, given his availability and Swiatek’s apparent willingness to rip up the formula that won her four out of her five Grand Slams. Since winning a third consecutive French Open in June, Swiatek’s performances and results have been patchy, and she’s spoken a few times of mental and physical exhaustion.
After discussions and analysis with her team, Swiatek approached Fissette for talks which drew her to his keenness to learn and develop.
“Iga was keen on working with someone who is open-minded, a good leader but a team player at the same time,” a member of her team told The Athletic.
“They both are very eager to constantly work on themselves, so they have a similar mindset. That’s why Iga believes they can get along well. His great experience with Grand Slam champions and other players who were ranked No 1 in the world was an additional advantage.”
‘Emotional intelligence’ is a phrase that sticks to Fissette, who combines it with an appreciation for data and statistics that goes all the way back to his first job as a coach: helping Clijsters win the 2009 U.S. Open in only her third tournament back after giving birth to her daughter, Jada.
Wim Fissette (left) with Kim Clijsters after she won the Miami Open title in 2010. (Clive Brunskill / Getty Images)
John Dolan was Clijsters’ manager at the time.
“Wim is an amazing coach. Very emotionally intelligent, and he can adapt his personality to the player he’s working with,” Dolan, a long-time WTA media liaison who is now the head of media for the British Lawn Tennis Association, said in an interview last month.
“He was a very good listener, and doesn’t talk a lot like some people. When he does say something it carries real importance and over the last 15 years his coaching credentials speak for themselves.
“If you’re a player how can you not listen to him?”
Knowing when to push and when to pull back is a key skill of any coach. Fissette is no hype man, so when he does really try to motivate his players, the effect is greater. With Clijsters, at her first tournament back in Cincinnati, she came to her coach with doubts about whether she was really good enough to compete. In an interview with Essentially Sports in 2018, Fissette said he told Clijsters that “there’s really nobody that is able to beat you when you’re going to be at your best.”
Ahead of her U.S. Open semifinal against Serena Williams, a player Clijsters had only beaten once in eight meetings prior, Fissette focused on not worrying and exploiting Williams’ weaknesses. Clijsters won 6-4, 7-5 in a match overshadowed by Williams being given a point penalty when down match point. Fissette had earlier that season bet Clijsters that if she won the tournament, he would shave his head. Both did their part in the deal.
“It sounds obvious but he knows how to work with tennis players,” Dolan said. “Some other coaches haven’t quite learned that reading the player is such a big part of it and a lot of coaches don’t have that. They focus too much on themselves.”
When Naomi Osaka began discussing who would coach her on her return to the tour after giving birth, reuniting with Fissette was the obvious choice. He did not say yes straight away.
He pushed Osaka on how her comeback would work and why it would be different to previous comebacks in 2021 and 2022 which ended prematurely. In the end, the second edition of Osaka-Fissette lasted just under a year.
An official at the WTA, who requested anonymity to protect relationships, outlined Fissette’s directness.
“He’s absolutely not a cheerleader,” they said.
“He’s very honest, and that is something some players aren’t used to all the time. He’ll say, ‘I have some ideas. If you’re open to that this is going to work — if you’re not going to be open to criticism, then it’s not.’”
“When you put in the effort, I make sure to praise it, while still being critical of errors,” Fissette writes on his website.
“I’m always looking for ways to make you better than the day before. Be positive, be better.”
Fissette undoubtedly has a ruthless streak. He joined up with Osaka in September 2023 having just taken Zheng to her first Grand Slam quarterfinal at the U.S. Open. Zheng said she was blindsided and heartbroken; Fissette told The Athletic in January that he was going to stop coaching Zheng regardless of Osaka. He had nothing but praise for Zheng — “a super nice girl” who always worked hard — but said that they did not click.
Wim Fissette (crouching) with Naomi Osaka in Los Angeles earlier this year. (Matt Futterman / The Athletic).
Similarly, in 2018, Fissette split with Kerber towards the end of what had been a very successful year and reunited with Azarenka shortly after. A terse statement from Kerber at the time read: “Wim Fissette is — with immediate effect — exempted from his duties as coach of Angelique Kerber. In spite of the successful cooperation since the beginning of the season, this step is necessary due to differences of opinion regarding the future of the alignment.”
A year earlier, Fissette and Konta split, with the former saying in an interview with the Times of London: “It was a good match but not a perfect match. We are kind of different and we see things a little different.”
The split was amicable with the now de rigueur posts on social media praising each other; Konta was unavailable for interview for this piece when asked by The Athletic.
Fissette’s willingness to curtail a partnership that doesn’t work — which players will share — stands in apparent contrast to the depth to which he will tailor his approach to a player’s needs. He is “very tour-friendly,” the WTA official said.
“He sees coaching as an art form. He understands how it works and really cares about what he does,” they added.
Fissette would get so nervous during Konta’s matches that he would have to go for a run afterwards to unwind.
In an interview with ESPN.com in 2018, Fissette detailed the spectrum on which his players would understand their own matches, with Azarenka’s desire for large amounts of data contrasting to Kerber wanting “two, three important things.”
This was partly a determination of style: Kerber’s at-times scarcely believable ability to turn defense into attack was reliant on knowledge of an opponent’s preferred attacking shots and patterns, allowing her to be strategically proactive rather than merely reacting to the ball in front of her.
When he was coaching Konta, Fissette was more prescriptive than usual. She liked clear messaging and so Fissette would have her recite the gameplan and a few key thoughts to him and herself before she went on court. But Konta was more lighthearted before matches than some of the players he’d worked with, so Fissette lent into that too. “We all tell jokes. Everybody is different,” Fissette told the Press Association during Konta’s run to the Wimbledon semifinals in 2017.
This is true of Fissette himself, who modelled his game on counter-punching as a player but has since made aggression one of the key tenets of his coaching. On the way to Kerber’s win at Wimbledon in 2018, he told her to up her aggression more than usual in moments where she would feel compelled to be safe; he used a similar strategy with Osaka when she came within a point of knocking Swiatek out of this year’s French Open.
“The way you think about tennis and play tennis trickles down into how you coach and how you play tennis,” Filip Dewulf said in a phone interview earlier this month.
Dewulf, 52, is a former French Open semifinalist and world No. 39; he was playing when Fissette was trying to make it on the ATP Tour. They got to know each other then and live near each other in Belgium, sometimes meeting for a drink and a catch-up.
Wim Fissette and Angelique Kerber celebrating victory at Wimbledon in 2018. (Clive Mason / Getty Images)
“He’s very data-driven. Both about his own player but also the opponent. He is preparing himself really well every match, and every practice, looking at the numbers every day,” Dewulf said.
Fissette would use an iPad between sets when coaching Kerber, and his use of data combined with the emotional intelligence that Dewulf, like most people interviewed for this article, cites as key to his success results in a drive to improve and develop, but with a real end result. Developing but losing is not Fissette’s goal.
“We had three nice years, we won two slams, and it was really good. But I was, in some ways, disappointed,” he told The Athletic in January of his first stint with Osaka.
How these coaching philosophies will translate into Swiatek’s game, mentality, and team will unfold over time, but those who have worked with him offer perspectives on where he fits into her way of approaching tennis. Dewulf has labelled Fissette as a “good organizer” with the ability to analyze an existing partnership from a removed perspective, appreciating its strengths while looking into its weaknesses.
Konta and Azarenka worked with a mental coach and psychologist respectively while Fissette coached them; at the very start of their first partnership in 2020, Osaka was in a dark place. She had lost to Coco Gauff in the Australian Open third round as the defending champion, and then lost her good friend Kobe Bryant, who died shortly after. The COVID-19 pandemic led to tennis being stopped a couple of months later, but Osaka found the equilibrium to win that year’s U.S. Open in September 2020 and then the Australian Open the following year.
“If they have been the same way for a long time, he works out what the weakness are and he gets other people in to get a better team around them,” Dewulf said.
This will be an interesting sub-plot with Swiatek, who has a number of longstanding team members including psychologist Daria Abramowicz. Fissette has been known to experiment: he and Osaka’s team brought in ballet dancer Simone Elliott to help her improve her movement.
Swiatek has said that tactical and technical adaptations to her game will come in the off-season, with too little time between hiring Fissette and the Tour Finals to implement meaningful changes, but she has already discussed what is coming.
“I for sure want to improve my serve, as I’ve been doing for past years,” she said in a news conference in Riyadh. “I think tactically there are many ways I could go and have more variety on court. Wim has some nice ideas.”
Swiatek has added more speed to her serve and abbreviated her motion in 2024, but recent defeats have been marked by an inability to change the momentum of matches, too often trying to hit through opponents in the way that usually wins her matches, instead of changing tempo or adding margin with topspin — one of her great strengths — to earn an easier ball back. This simplification of her game, introduced by Wiktorowski, brought her great success and continues to do so; it still needs an alternative for when it isn’t quite working.
Fissette worked with Kerber and Azarenka extensively on their serves, and spent time with Osaka trying to develop an aggressive open-stance backhand — a shot that a handful of players, including Swiatek, can perform reliably.
As Swiatek heads into defending her WTA Tour Finals title, Fissette’s generally quick starts may prove a boon. Clijsters is the most obvious example but Konta won Miami, the biggest title of her career, within a few months of working with him. Lisicki was a shock Wimbledon finalist after an even shorter time working with Fissette, while Halep reached her first Grand Slam quarterfinal in her first major with Fissette, before reaching the French Open final in her second.
This instant impact is something a few observers have pointed to as a Fissette trademark.
Ultimately, it’s Fissette’s record of success that sets him apart, says his coaching rival Mouratoglou, who won 10 Grand Slams with Serena Williams between 2012 and 2017. “I judge the quality of a coach on the results,” Mouratoglou said from France via a Zoom interview this week.
“There are some guys who make results and some guys who don’t, and some who do it sometimes. It’s the same if you look at the football, there are a few coaches every time they take a team — success. Of course, they’re great teams, but with other coaches, they wouldn’t make that success.”
“I have a good relationship with him, he’s one of the guys that I’m always happy to see even though we are in competition,” Mouratoglou said.
“I think we have very different personalities but it’s good that there are different options for the players.”
One undoubted advantage is how intimately Fissette knows a number of Swatek’s rivals from working with them. Coaching Osaka at the 2020 U.S. Open final, Fissette felt as though he could predict every shot that Azarenka was going to hit. He will now be able to tell Swiatek precisely what her opponents will be anticipating from her because he was in the role of anticipator for Osaka only a few months ago.
Fissette’s expertise on the WTA Tour leads to the inevitable question about why he has never coached a male player, but the answer is that the opportunity hasn’t come up. He is open to doing so but his early success with Clijsters led to job offers on the women’s side and that’s how it’s been ever since. It’s hard to imagine he wouldn’t be a success there, given what he’s achieved in 15 years on the WTA side.
It feels difficult to envisage a situation where the partnering of two such elite practitioners won’t equate to success either in the medium term or more immediately, like some of Fissette’s previous partnerships. What makes tennis so exciting is not quite knowing how things will go — even if this feels like the closest thing to a sure bet.
(Top photo: Robert Prange / Getty Images)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
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.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
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.
Culture
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.
-
Detroit, MI1 week agoDrummer Brian Pastoria, longtime Detroit music advocate, dies at 68
-
Science1 week agoHow a Melting Glacier in Antarctica Could Affect Tens of Millions Around the Globe
-
Science1 week agoI had to man up and get a mammogram
-
Movie Reviews1 week ago‘Youth’ Twitter review: Ken Karunaas impresses audiences; Suraj Venjaramoodu adds charm; music wins praise | – The Times of India
-
Sports6 days agoIOC addresses execution of 19-year-old Iranian wrestler Saleh Mohammadi
-
New Mexico5 days agoClovis shooting leaves one dead, four injured
-
Business1 week agoDisney’s new CEO says his focus is on storytelling and creativity
-
Texas1 week agoHow to buy Houston vs. Texas A&M 2026 March Madness tickets