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CANTON, Ohio — Drew Brees stood on stage next to his bronze bust, in front of Who Dat Nation, and took his place in the Pro Football Hall of Fame.

Getting benched three times in the NFL helped him get there.

“Marty Schottenheimer, one of the greatest coaches and motivators to ever coach this game and who belongs here in Canton,” Brees said Saturday. “Marty was my biggest fan. He would tell me all the time, even as he benched me three times and made me fight for my job every year with two greats, Doug Flutie and Philip Rivers.

“The first two times I got benched, I deserved it. The third time, I still don’t think I deserved it, Coach. But nonetheless, it lit more than a fire. It forced me to access a place in my mind and heart that I had not yet been. The adversity was not expected, but very necessary. I would never have reached the heights I did without it. I knew I needed to play better, but more importantly, I knew he believed I would play better.”

Brees eventually left the San Diego Chargers and joined the New Orleans Saints, where he won a Super Bowl playing for coach Sean Payton and became one of the most prolific passers in NFL history, to the delight of fans who filled the Superdome with chants of “Who dat?”

Payton took time off from coaching Denver to introduce Brees on stage.

Brees got emotional thanking Payton.

“You always had a plan and vision for every player you coached,” Brees said. “I’m not sure if this is how you envisioned my journey or how big a role you would play in it, but I love you for it.”

Brees has the second-most yards passing (80,358) and touchdown passes (571) in league history, behind only Tom Brady. He was a first-ballot selection and joined a class that includes Larry Fitzgerald, Luke Kuechly, Adam Vinatieri and Roger Craig.

“I often ask myself how in the world did I play 20 years in the NFL,” Brees said. “Yes, it was for the love of the game. Yes, it was a relentless attempt to master my craft. Yes, it was the grind and challenge of preparation and the thrill of game day. But you want to know what it really was: for the love of my teammates. I would wake up every day with a burning desire to commit, sacrifice and command in a way that would give them everything they deserved.”

Roger Craig

Craig, who revealed in a video speech that he has vascular dementia, became the first player in NFL history to have 1,000 yards rushing and 1,000 yards receiving in a season. Only Marshall Faulk and Christian McCaffrey have done it since.

“You spend your whole life trying to prove you belong and one day you’re told you’re one of the all-time greats. Man, it’s overwhelming,” Craig said.

Larry Fitzgerald

Fitzgerald was the first player to have his bronze bust revealed on stage Saturday at Tom Benson Stadium.

The 11-time Pro Bowl wide receiver, who played his entire 17-year career for the Cardinals, was introduced by the oldest of his three sons, Devin.

He finished his speech with a message to his boys that’s applicable to everyone.

“Don’t just pursue excellence for yourself,” Fitzgerald said. “Help other people pursue it, too. That’s the part of this story that matters the most. Not the likes. Not the fame. But the people you travel with. The values you uphold. In the end, it’s not just about the excellence. It’s about the people who help get you there.”

Being drafted No. 3 overall in 2004 by Cardinals coach Dennis Green reunited Fitzgerald with the man who was Minnesota’s coach when he was a ball boy for the Vikings.

“When coach Green hired me as a ball boy, I grew up watching legends being built right in front of me,” Fitzgerald said. “Hall of Fame players like John Randle, Chris Doleman, Randall McDaniel and Warren Moon, who taught me what it means to demand more of yourself than anyone else ever would. Plus, they saw me.”

Fitzgerald thanked Hall of Fame receivers Cris Carter and Randy Moss for their influence on his career during his time working for the Vikings as a kid. He singled out former Cardinals teammates Emmitt Smith and Kurt Warner for showing him how to be a professional.

“Kurt, when you demanded that I elevate my preparation, consistency and accountability, you dragged me to the winner’s circle,” Fitzgerald said. “The timing couldn’t have been better for an impressionable kid, and I continue to aspire to be the kind of man you are.”

Fitzgerald is second on the NFL’s career list in receptions (1,432) and receiving yards (17,492). His 121 touchdown catches are sixth.

Adam Vinatieri

Vinatieri became only the third full-time placekicker to be inducted into the Hall, joining Jan Stenerud and Morten Andersen.

He may have a new career in comedy.

Vinatieri drew plenty of laughs and cheers with jokes about Bill Belichick, Peyton Manning and Tom Brady.

“And Peyton, thank you for generously donating your forehead for today’s teleprompter,” Vinatieri cracked. “A gigantic forehead means big brain and your football IQ is unmatched.”

Manning nodded his head with a smile from his seat among the Hall of Famers.

Vinatieri retired with NFL records of 2,673 career points and 599 field goals. Only George Blanda (26) and Andersen (25) had longer NFL careers than Vinatieri’s 24 seasons.

“When people hear the word greatness, they usually think about the biggest names on the biggest stages,” Vinatieri said. “But greatness isn’t created under bright lights. Greatness is built on empty practice fields when it’s below zero. Greatness is sacrificing temporary fun for meaningful outcomes. Greatness is turning doubt into belief. Preparation matters. Character matters.

“And to all the doubters, thank you. Your criticism became fuel. Your doubt became motivation. You helped make me better.”

Colts owner Carlie Irsay-Gordon introduced Vinatieri, who won his fourth Super Bowl with Indianapolis after earning three championship rings in New England.

Luke Kuechly

At 35, Kuechly became the second-youngest player inducted into the Hall. Chicago Bears running back Gale Sayers was 34 when he was inducted in 1977.

Introduced by his father, Tom, Kuechly was inducted on the same field where he led St. Xavier High School to a state championship in 2007.

Known for his intense study habits, Kuechly was a five-time All-Pro linebacker, the 2012 AP Defensive Rookie of the Year and 2013 AP Defensive Player of the Year during his eight-year career with the Carolina Panthers. Kuechly decided to retire in part to preserve his brain health after suffering several concussions.

“This game teaches you a lot if you’re willing to observe and listen,” Kuechly said. “It’s taught me resilience, consistency, toughness, the value of communication, how to find common ground, and most importantly how to enjoy it along the way cause oftentimes the best moments are the ones you are in.”

Maaddi writes for the Associated Press.

Thinking back on the last two years of his life full of album releases, filming schedules and tour dates, Finn Wolfhard requires squint-inducing concentration to keep it all straight.

“Jesus, a lot has happened,” he says, looking surprised. That’s an understatement.

In that time, the 23-year-old not only finished filming the Netflix hit show “Stranger Things,” which catapulted him to global stardom, and promoted the final season upon its premiere. He also released his feature film directorial debut (“Hell of a Summer,” co-directed with Billy Bryk, which hit theaters in April 2025). Then, he starred in another movie (A24’s creature feature “The Legend of Ochi”), directed a posthumous George Harrison stop-motion music video, wrote, recorded and put out his first solo album (“Happy Birthday”), and embarked on a 22-date tour before recording a new album.

On a video call from his family home in Vancouver, Canada, where he lives with his parents and older brother, he’s chatting about the release of that record, the eclectic, guitar-driven “Fire From the Hip,” which dropped Friday.

“I think it’s a nice day?” he offers when I ask what’s happening in Vancouver. “I don’t know. I’ve been in my basement studio all day, so I don’t … I think it’s nice.”

He’s been down in the basement doing press calls like this, he explains, undoubtedly a familiar routine after so many years in the limelight. He wears a baseball cap and an oversize brown sweater, tugging on the sleeves while he ponders.

Even if Wolfhard is exhausted by the press marathon, he doesn’t show it. He’s excited for the chance to be known on his own terms. He never fails to express gratitude for the projects that afforded him recognition and opportunity, but he’s ready to “take control of the narrative.”

“I spent my whole childhood standing on marks that other people told me to stand on and saying lines that other people told me to say,” he says. “Why wouldn’t I want to make my own stuff?”

Being in control also means being the face of the operation. Before “Happy Birthday” and “Fire From the Hip,” Wolfhard released a total of two records and an EP, plus a whole bunch of singles, with his previous bands, Calpurnia and the Aubreys. Being in a band was a natural fit for Wolfhard, who thrives in an ensemble where he can “hide behind the band name.”

Touring last year was his first time seeing his own name on the marquee.

“It’s just straight up me, and if I suck, I suck,” he laughs. “It’s not like I can be like, ‘Oh, man, we’re having disagreements in the band.’ It’s like, no, that’s you. So there was a little more pressure early on.”

Finn Wolfhard released “Fire From the Hip” on Friday.

(Victoria Stevens)

Stepping into the spotlight required Wolfhard, who admits he shies away from conflict, to own both the pressure and the power of being the one audiences came to hear.

When he got sick and had to cancel a show in Portland, Ore., he remembers feeling crushingly sad “letting down” his fans and bandmates — who, of course, assured him it was outside of his control and urged him not to be so hard on himself.

Wolfhard introduced many of the songs that ended up becoming “Fire From the Hip” to his bandmates while they were still on tour, and he says playing them live “cultivated the spirit” of the eventual recordings. Despite his collaborative ethos, there was a moment during the process where he had to learn how to put his foot down in real time.

“I remember suggesting something and people being like, ‘Ah, I don’t know if I want to do that.’ And I was like, ‘No, you don’t get to do that to me. It’s my record,’” he remembers. “It was very innocent — I don’t think there was much ego on either side. But I think I maybe set up too collaborative of an experience that day.”

“I think I sometimes make it feel like a democracy, which it is in a lot of ways,” he adds. “But also, in the end, it is up to me.”

That thought is echoed in the album’s cover art, an image of two miniature Finn Wolfhards facing off, donning colonial garb and brandishing weapons. It’s meant to represent dueling impulses inside of him, he explains.

Wolfhard, a true-blue music nerd, has been described online as an archetypical example of the “child of a Gen X cool dad,” in the same vein as Olivia Rodrigo. (His dad, a former screenwriter turned lawyer and Indigenous rights researcher, does sound cool, but it was his mom who first introduced him to the Beatles. His parents apparently met over a Stone Roses record.)

That sensibility is evident in his musical influences — “I wanted everything [on drums] to sound like the first two Wilco records,” he says — and in his approach to recording. “Happy Birthday” was recorded almost entirely on four-track cassette tapes, while “Fire From the Hip” uses 24-track reel-to-reel.

The album runs the gamut from its cheeky, surf-rock opener “I’ll Let You Finish” (yes, that is a reference to Kanye West’s infamous speech at the 2009 VMAs) to more ’90s alt-inspired tunes to a surprising dose of straightforward country-folk.

Lyrically, Wolfhard divides his songs into two categories: the “very personal” and the story songs written around books he was reading (“Knockemstiff” by Donald Ray Pollock) or quotes that made him laugh. The personal themes he explores are exactly what you would expect from an early-20s rocker raised in the public eye — namely, relationship expectations and existential fears about the future.

On the nostalgic piano ballad “Good Morning,” he imagines what it might be like to settle down somewhere “with a dog and a wife.”

“I haven’t lived that part of my life yet,” he says now. “So I can really easily get lost in thinking about what that looks like.”

When it comes to sharing his music, especially the more vulnerable tracks, Wolfhard knows his “Stranger Things” fame is the elephant in the room. Anything he sings can and might be used against him in the court of public opinion.

“I could either kind of say nothing and be totally private, because it is scary knowing that everything I say, at least one person will take it a certain way that I wouldn’t want them to. But I just don’t have the control,” he says.

“So if I don’t have the control, then there’s nothing really that I can do, other than try to be as truthful and passionate and well-meaning as I possibly can, you know?”

The double-edged sword of fandom hasn’t stopped Wolfhard or his musically-inclined “Stranger Things” co-stars from pursuing this path. Fellow Hawkins alums Joe Keery (who releases music under the moniker Djo) and Maya Hawke are indie darlings in their own right, and Wolfhard has previously referred to Keery as a mentor. None of them face the unique challenge of relatability in quite the same way, however.

“I’m aware that my specific problems are maybe not as relatable because of how specific of a life I have,” he said. “The only thing I can hope for is that some other person out there listens to it and relates to the same things that I do.”

Sometimes an air of wistfulness accompanies these admissions. When asked about how he feels about Los Angeles, he tells me that it’s complicated: “I think if I wasn’t a young actor, it would be a very different situation.” His favorite parts of the city are its repertory cinemas and lush neighborhoods like Mount Washington, where his godfather resides, because they look the most like Vancouver.

That said, he’s not through with Hollywood. He’ll be back in L.A. for an Oct. 13 show at the Fonda Theatre, and acting and directing are still on the agenda. He would like his next film project — other than the Matt Johnson and Bong Joon Ho projects he’s already committed to, of course — to be something more “personal.”

For now, though, the focus is music. Wolfhard launches a new tour this month, and he’s most looking forward to “doing dumb s—” with his friends.

He tells a quick story to illustrate: When he and the band last toured in Glasgow, Scotland, he was trying to leave the venue without being noticed. (“I have a hard time dealing with fan interaction,” he says.)

“We kind of made it into this joke thing, knowing it wouldn’t work, where me and Rand, my guitarist, were like, ‘let’s switch clothes.’ Rand pretended to be me and I pretended to be Rand,” he says. Miraculously, it worked up until the “very last second” before they stepped on the bus.

“I couldn’t help myself,” he says: He instinctively made eye contact with someone in the crowd. “They did a double take, like, ‘Wait, what?’”

It sounds like a scene straight out of “A Hard Day’s Night” — or maybe inspiration for his next film.

“I’m pretty in my head about things and want them to be a certain way,” he says. “The thing that I have to remind myself all the time is that, like, dude, you’re with your friends, you’re playing music — it’s the best.”

Theo Burrell, an “Antiques Roadshow” star and cancer research advocate, has died. She was 39.

A family member announced Burrell’s death on Instagram on Saturday, writing, “It is with great sadness that I share the news that Theo passed away peacefully surrounded by her family on Wednesday afternoon. Neither she nor her medical team foresaw this happening quite so quickly.

“She was an incredible person who fought hard for her family, friends and raising awareness of this cruel disease,” the post continued. “She saw life events like her son’s first day at school and her wedding that a little over 4 years ago we thought she’d never see.”

Burrell, born Theodora Helen Burrell on Sept. 1, 1986, was a ceramics and decorative arts specialist on the BBC’s “Antiques Roadshow,” a reality series that features antiques experts appraising family heirlooms, garage sale gems and more. Off screen, she worked as a specialist and auctioneer at Lyon & Turnbull, the oldest auction house in Scotland.

“One of the things I love about antiques is that they have survived so many years, witnessing life changing events such as coronations & world wars,” Burrell wrote in the caption of an 1840s-era white marble bust.

In June 2022, Burrell was diagnosed with an incurable, aggressive Grade 4 brain tumor, and was told she had a year to a year and a half to live. She subsequently underwent brain surgery, radiotherapy and chemotherapy in an effort to keep the cancer at bay. In June 2023, she organized a star-studded auction to raise money for the British cancer research nonprofit the Brain Tumour Charity and raised the equivalent of about $93,500. She also became a patron of the charity Brain Tumour Research.

“We are heartbroken that we have lost the phenomenal, determined and truly inspiring Theo to this devastating disease,” Dan Knowles, chief executive of Brain Tumour Research, said on Instagram. “She constantly inspired us with how big her heart was and we will continue on our mission, driven by everything she taught us. Our thoughts are with her family, her friends and with all those who had the privilege of knowing her.”

During a January 2024 BBC “Morning Live” appearance, Burrell said that six months before she was diagnosed, she started to get unusual symptoms including headaches, nausea, feelings of pressure in her head and issues with her vision. After multiple trips to various physicians and a CT scan, doctors found an about 2-inch-diameter brain tumor in the right side of her brain.

She spoke candidly about her battle in the media and across social platforms, telling BBC, “I really felt that with a small public profile which I had from the ‘Roadshow’ that if I could do something good with that, then I should. And I have watched other people, such as Tom Parker, who sadly lost his life to a glioblastoma, really work so incredibly hard when he was so ill to try and make a difference for people like me.”

Burrell’s family said in the statement announcing the antiques enthusiast’s death that the cancer community provided “so much comfort and strength to her in her darkest moments.”

“But most of all it provided hope and I think what she would want most of all is for other people to find hope in her story. Hope that the statistics aren’t gospel and that one day they’ll be very different.”

PARIS — There’s a present-day answer to the question that was posed in verse by the French medieval poet and street brawler François Villon: “Where are the snows of yesteryear?”

They’re right here, in high summer, on Paris’ oldest bridge, the Pont Neuf, where an enormous art installation, a trompe l’oeil inflatable snow-clad mountain range, has arisen over the river Seine.

Using about 200,000 square feet of printed fabric, Paris-born street artist JR has created “La Caverne du Pont Neuf.” It’s his version of and homage to the innovative work of groundbreaking environmental artists Christo and Jeanne-Claude.

They’re the fabled duo who first wrapped the arches of this same bridge in straw-colored fabric in 1985. Over the years, they also surrounded 11 islands in Florida’s Biscayne Bay with flamingo-pink cloth, hung saffron-colored fabric “gates” in New York’s Central Park, installed a “running fence” of billowing white material across nearly 25 miles of Sonoma and Marin counties and, in 1991, planted 3,100 yellow umbrellas, blooming like 20-foot-tall poppies, through the Tejon Pass north of L.A.

I interviewed Christo in 2011, and he was eloquent about how his and his wife’s work alters perceptions of nature, and about the deliberately transient character of the art itself. JR, an acolyte of their work, told me in an email that “an ephemeral artwork forces you to come now, and usually to come with other people. The visit becomes a shared moment … and this moment becomes a memory.”

In a city celebrated for artworks that have survived for centuries, this installation was very nearly too transient. A kooky hailstorm in late May, a heat wave in June, followed by ruthlessly ripping winds, delayed the opening by days. At last, beginning one midnight, the air pumps began and the work arose like a limestone-colored soufflé. It will be open around the clock until June 28.

Plus ça change, plus c’est la même chose. Back in 1985, Christo’s engineer on the Pont Neuf project, Ted Dougherty, pointed out that above 25 mph, “wind is not our friend.”

The piece works from two vantage points: from afar — visible from a lot of central Paris — and also from inside it, in the “cave” part. Pedestrians crossing the bridge pass through a fabricated interior, a cavern-like space printed in 3D realism and enhanced with a specially designed scent to evoke the dank, earthy aroma of humankind’s early habitations.

JR and Thomas Bangalter in “La Caverne du Pont Neuf” in Paris.

(Tara-Jay Bangalter)

JR intended it to be both. “From the start I designed two works in one. There is the silhouette — what you catch from the quais, from the bridges, from a boat on the Seine or simply walking past on your way somewhere else. That image belongs to everyone, including the people who never chose to look at art that day.”

And then, he said, “there is the inside, which is slower and more intimate, almost in the dark, hard to photograph.” That aspect is “a journey to cross the bridge, to go from darkness to light.”

When Christo and Jeanne-Claude wrapped the arches of the Pont Neuf more than 40 years ago, it took years of planning and permits to make it happen. “La Caverne du Pont Neuf” was a breeze by comparison.

JR, whose other vast outdoor works have delivered double-takes of humans’ scale and their architecture, told me that cities have come to understand “that public art brings people together and that the image travels around the world. Once Christo showed it could be done safely and beautifully, the conversation changed. It was much easier for me to have my project accepted, thanks to them. They also proved the economic positive impact to the cities they worked in. I believe there should be more large-scale, ambitious public art projects.”

It’s one thing to conceive of such a project and another altogether to make it happen — so much technology, compared to, say, mixing paints and choosing a paintbrush. But the science that “La Caverne” required “is the art, not an obstacle to it,” JR said.

“Trompe l’oeil turns adults back into children,” JR said.

(Elea Jeanne Schmitter)

All the canvas, the engineering, the meticulous assembly, the permits — “none of that is preparation for the work, it is the work. Christo taught me this. The process is visible, and even more after the storm we experienced a couple of days before opening to the public. Nature always reminds you who is in charge. When the wind tore the canvas before we opened, we took it down, re-sewed it, reinforced it,” all in full public view.

“Where I stay careful is in not letting the technology become the subject. The augmented reality by Snap’s AR Studio adds to the project, doesn’t take you away from it.”

That air should be JR’s vital collaborator — no complex and costly scaffolding for these magic mountains — is nothing new in Paris.

The first free flight of humans above the earth, on Nov. 21, 1783, sent aloft two men in a hot-air balloon crafted by the Montgolfier brothers from silk fancifully painted in blue and gold with figures of the zodiac. It wafted across Paris for about 25 minutes at about 3,000 feet. Ephemeral, yes — and unforgettable.

Artists and couturiers are fond of the whimsy of trompe l’oeil, the trick of the eye, the illusion of reality. I am a sucker for it, for fashion like that of clothing designer Elsa Schiaparelli. JR has used it often, as a massive-scale magical deception to make the Louvre Pyramid “disappear” into the old Louvre, and opening up an imaginary subterranean world below the Eiffel Tower.

“Trompe l’oeil turns adults back into children,” he told me. “You know it isn’t real, you know that ‘La Caverne du Pont-Neuf’ is not made of rock, that this is printed canvas. And yet your eye wants to believe it, and for a moment you let yourself. That gap between knowing and believing is where the play happens, and people love being inside that gap.”