Culture
With Tua Tagovailoa’s future and health on the line, Dolphins must exercise ultimate caution
It was the scene none of us wanted to see: Tua Tagovailoa incapacitated on the football field after another collision and blow to the head.
But there we found ourselves late Thursday night, watching in fear of the Miami Dolphins quarterback’s well-being as medical personnel tended to him after his third-quarter scramble and collision with Buffalo Bills safety Damar Hamlin. Immediately, memories and mental images of Tagovailoa’s 2022 concussions rushed back.
The heart-stopping fear that his family members must have experienced at that moment is hard to fathom. But everyone from current to former NFL players, fans and anyone in between sympathized.
Tagovailoa eventually was helped to his feet, and he limped off the field under his own power. Just before the quarterback reached the sideline, Dolphins coach Mike McDaniel had a brief word with his player, “I told him he’s the starting quarterback of his family, and to ‘Go in the locker room, take a deep breath and I’ll see you soon.’” With that, McDaniel kissed Tagovailoa on the head and turned him over to the trainers, who ushered him to the locker room for evaluation.
.@KayleeHartung provides an update on Tua Tagovailoa. pic.twitter.com/hiEnuq9ISC
— NFL on Prime Video (@NFLonPrime) September 13, 2024
McDaniel’s emotions were impossible to hide for the remainder of the game and during his postgame news conference. McDaniel immediately fielded questions about how the Dolphins would approach Tagovailoa’s recovery, but he said only that he expected Tagovailoa to go through extensive evaluations on Friday, and that the Dolphins would then approach the situation and the quarterback’s care “one day at a time.”
Now faced with how to handle their quarterback after a third known concussion in three seasons, Dolphins leadership finds itself in an extremely difficult position. It must wait to learn how this latest concussion will impact the 26-year-old quarterback and then grapple with the decision of when/if he should return to the field.
Tua’s injury history and games missed, NFL career
| Year | Week | Injury | Games missed |
|---|---|---|---|
|
2024 |
2 (Sep. 12) |
Concussion |
TBD |
|
2022 |
16 (Dec. 25) |
Concussion |
3 |
|
2022 |
4 (Sep. 29) |
Concussion |
2 |
|
2021 |
8 (Oct. 31) |
Fracture, finger |
1 |
|
2021 |
2 (Sep. 19) |
Fracture, ribs |
3 |
|
2020 |
After week 10 |
Thumb |
1 |
The Dolphins and their doctors no doubt will work hard to avoid a repeat of 2022, when Tagovailoa seemingly was allowed to return to action prematurely and then sustained at least one other concussion. (Those decisions sparked a joint investigation by the NFL and NFL Players Association’s medical examiners.)
If you recall, it was Week 3 of that 2022 season when Tagovailoa sustained a blow that left him stumbling and struggling to maintain his balance after an injury that the Dolphins classified as a back injury, although something about that diagnosis always felt off. Tagovailoa started the following game before eventually sustaining a sack that caused his back and back of his helmet to hit the ground. Tagovailoa’s body involuntarily went into the fencing response before he was taken off the field on a stretcher. Then in Week 16, Tagovailoa sustained another concussion and missed the final two regular-season games and Miami’s playoff game.
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If the Dolphins learned anything from that Week 3 and 4 sequence, it’s that medical exams and league-mandated protocols aren’t always as all-encompassing or as foolproof as one would hope. So this time measures that may even seem extreme are required as they navigate this latest brain injury recovery with their quarterback.
Almost immediately after Tagovailoa’s injury Thursday night, social media erupted with opinions from former players, including Hall of Fame tight end Tony Gonzalez, who covered the game for Amazon Prime, and fans who suggested that Tagovailoa should retire — never playing football again. The risk of the quarterback returning to action and suffering another (and possibly more devastating) concussion seems to far outweigh the rewards of a continued playing career, they believe.
GO DEEPER
Former players call for Tagovailoa to retire
It’s not so simple, however. How do you tell a young man that he’s unfit for work? How do you tell him that he can no longer live his dream?
Tagovailoa certainly has proved he’s capable of playing at an elite level. He led the NFL in passing yards last season and had gotten off to another prolific start in Week 1. But his injury history suggests that his body isn’t designed to hold up under the rigors of this violent game.
There’s a fine line between supporting a player while allowing him to live his life and make his decisions and protecting a player from himself. Determining where that differentiating line falls is painfully complicated and perhaps impossible to determine.
Tua Tagovailoa led the NFL in passing yards last season and was the league’s leader through Week 1 of this season. (Jasen Vinlove / USA Today)
It’s an unenviable position for the Dolphins, who earlier this summer agreed to a four-year, $212.4 million contract extension with the quarterback. The deal is the last thing on anyone in the organization’s minds at this time. Protecting and supporting a member of their family in hopes he returns to full health and maintains the ability to lead a quality life tops their priority list.
The Dolphins can’t abide by the usual return-to-play concussion protocol, which entails daily monitoring and benchmarks and a gradual ramp-up of physical activity and potential clearance for game action by the end of the same week.
It seems like the Dolphins’ doctors should mandate extensive and the most sophisticated testing possible to learn as much about Tagovailoa’s brain and recovery process before they let him set foot anywhere so much as a treadmill. The problem is that concussion-related brain damage is often difficult to detect even with the most modern forms of technology. But extreme care is needed, even if the quarterback is no longer exhibiting concussion symptoms.
For now, it’s far too early to know what the recovery timeline looks like. McDaniel said Friday that he didn’t even know if the Dolphins would place the quarterback on injured reserve (a minimum of four games) to ensure he doesn’t attempt to rush back.
“I literally will not know any sort of anything either way, because, again, that’s how we’re operating, as though we know nothing — because we don’t,” the coach said. “The driving force behind any sort of move — let’s say playing anytime, let’s say IR, whatever those things are — the absolute most important opinion is that of the most important person in this whole equation: Tua. His opinion of what he wants to do with his life and his career, coupled with the experts in neuroscience — those are the driving forces behind those actions. … I’m not hiding anything. I’m being as transparent as I absolutely could. I have zero idea what any sort of timeline is, and I’m actually extremely motivated to be in the gray, because I’m extremely motivated to do right by, you know, the person that we’re talking about. I know that’s not an ideal way to do business, necessarily. But this is more than business.”
McDaniel added, “Literally all I’m telling Tua is, ‘Everyone is counting on you to be a dad this weekend,’ and then we’ll move from there.”
GO DEEPER
‘It’s trauma. It will always be there’: Damar Hamlin’s routine hit on Tua Tagovailoa a scary reminder
If Tagovailoa does ultimately decide he wants to continue playing and doctors allow it, then the Dolphins must do everything possible to protect him, which means bringing him along at a painstakingly slow pace to help guard against setbacks, and perhaps making him wear a Guardian Cap in games over his already specialized helmet. But that’s just the start.
They have invested in him heavily at this point. His contract features $167 million that is guaranteed for injury, including $43 million that has been paid this year. Even if the team forced him to retire for medical reasons, it would owe Tagovailoa the remaining $124 million of guaranteed money on his contract. If he chooses to retire on his own, he would forfeit that money, unless he and the team reached an injury settlement. So, the only move is to exercise patience and support.
McDaniel explained, “I look at Tua as a family member of mine,” and his sentiments are shared by those within the Dolphins’ organization. So for now, the necessary moves are to ensure the well-being of the man takes precedence over any football matters. Then, eventually those decisions will come.
If only there was a way to guarantee that the Dolphins quarterback never has to endure a similar episode in the future.
(Top photo of Mike McDaniel kissing Tua Tagovailoa as he exits the field: Megan Briggs / Getty Images)
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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