Culture
Special report: Why Forest may abandon City Ground 'masterplan' for new stadium
It doesn’t take long in conversation with Tom Cartledge, the Nottingham Forest chairman, to realise that the dispute threatening the future of the City Ground has accelerated the possibilities of a stadium move.
“The club continue to be frustrated,” Cartledge tells The Athletic in relation to Forest’s standoff with Nottingham City Council, which owns the land where the team play. “Neither the leader of the council, the CEO nor any of the commissioners appointed by central government have reached out to the club.
“Nobody is knocking on the door. Nobody is trying to start the relationship again and say, ‘How do we find a way?’. And in the meantime, other councils and landowners are providing opportunities that we have to consider.”
It is three months since Cartledge spoke to The Athletic about his “masterplan” to upgrade the City Ground into a 40,000-capacity stadium with two new stands bankrolled by the club’s Greek owner, Evangelos Marinakis.
Cartledge showed off the designs. He talked about wanting to create something special and long-lasting at the riverside setting that has been the club’s home for 125 years.
Yet he also accompanied it with a stark warning that the whole project might have to be reconsidered if Forest could not agree terms over a new lease with the council — and that, in a nutshell, is exactly what has happened. Nothing is moving, attitudes have hardened and, as it stands, the entire negotiation is going nowhere fast.
What does all this mean for a stadium regarded as one of the gems of English football?
Well, for starters, the impasse has led to a rethink from Marinakis when it comes to the “corner boxes” of executive suites that were meant to go either side of the Trent End before the end of the season. Work started in February to prepare the ground, including bringing down one of the floodlights and replacing it in a new position.
An artist’s impression of the proposed new ‘corner boxes’ at the City Ground (Nottingham Forest and Benoy)
That, however, has been put on hold. The development would cost up to £7million ($8.7m) and Forest, according to Cartledge, want more clarity from the council “before we spend significant money on capital projects”.
On a wider level, however, Forest’s ongoing dispute with their landlord has left the club contemplating what could, in theory, be one of the most seismic and important decisions in their history.
When Cartledge uses the word “opportunities” he is talking about possible sites where Forest can explore a Plan B — putting up a 50,000-capacity stadium in another part of the city. One area that has been discussed is Toton, six miles south west of the city centre.
The Athletic has been to see the relevant site, earmarked originally for the now-abandoned HS2 railway project. It is land owned by Nottinghamshire County Council. In the coming weeks and months, we can expect more and more discussion about the pros and cons of staying at the City Ground or building something new elsewhere.
“That (Toton) is one of several potential spots,” says Cartledge. “It’s not as easy as to say, ‘Here’s a piece of land, go and build a stadium’. There are highways, transport and connectivity issues. But it’s fair to say we are progressing due diligence on different sites.”
Through the estate, past the Toton Fish Bar, a hairdresser’s called Flicks and some typical Nottingham suburbia, you will eventually come to a mini-roundabout on Epsom Road where you can hear the hum of industry from the railway sidings on the other side of the trees.
The River Erewash is nearby, running along the county border between Nottinghamshire and Derbyshire. There is a Tesco supermarket on the other side of Stapleford Lane, a tram stop and a garden centre, Bardills, that has its own history with the city’s major football club.
In 1898, when Forest moved to the City Ground, the nurseryman and landscape gardener William Bardill was on their committee. Bardill was put in charge of the playing surface and is credited in the club’s official history book for creating a pitch “that was soon recognised as one of the best, even the finest, in the country”.
Today, Bardills looks out on the stretch of dual-carriageway that is named after Brian Clough, Forest’s two-time European Cup-winning manager, and leads all the way from Nottingham to Derby.
And, yes, it feels strange — very strange, indeed — to look down at Toton Sidings from the grassy embankment off Banks Road and try to imagine what it would be like with a gleaming new stadium dominating the skyline and a different set of match-day routines.
“All mist rolling in from the Erewash…”
OK, let’s not get too far ahead of ourselves. For now, it is only an idea. That idea is in its embryonic stages and, before anything, Forest are acutely aware they need to undertake a long period of consultation with fans, understanding the sensitivities and why many supporters might find it unsettling.
These are always emotive subjects. Some fans might be receptive to a move, others will hate the idea.
Toton sidings, one possible stadium site being considered by Forest (Rui Vieira/PA Images via Getty Images)
Cartledge, in particular, is aware of local feeling, given that he grew up in Nottinghamshire and has been going to matches at the City Ground since the early 1980s. It is all he has ever known and if you want to know why the former manager, Steve Cooper, used to say it “oozed football soul”, there is a 4,000-word love letter here courtesy of one of its biggest admirers.
Critically, though, the issues with the council come at a time when Forest — deducted four points this season for breaking the Premier League’s profitability and sustainability rules — feel the only realistic way to challenge the elite teams is to generate more revenue.
Uppermost in Forest’s mind is finding a way to do this on non-matchdays — something that has been missing from their ground for many years — and accommodating the thousands of fans who cannot get tickets. Forest reckon they could have sold 50,000 for some games since their return to the top division.
Against that backdrop, Forest’s decision-makers are open about the fact they have to consider every option and, to quote Cartledge, there is “a discussion to be had about, ‘Yes, the City Ground is our home, but just imagine if we did something amazing.’”
On top of that, the club have been re-evaluating everything since negotiations fell through recently over a multi-million-pound deal to buy land off the eastbound A52 for a new training ground.
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Unreported until now, the deal is off because of what Cartledge describes as “a financial disparity between what we believe the land is worth and what the land-owners are asking”. And that is disappointing when Forest’s hierarchy had drawn up some exciting plans and fully expected it to go through in February. The club readily admit their training ground is not big enough.
So what next? Forest, it transpires, have already started looking elsewhere. The relevant people are wondering whether they should think more ambitiously and take their lead from Manchester City, the reigning Premier League champions.
“Because of the noise being created out of the disruption of whether we stay or go, we are getting quite a lot of interesting things put our way,” Cartledge explains.
“The terms on that (training ground) project are prohibiting us, but other things have come forward that have given us time to think. Where do we want to be? Where are those campuses where we can try to put all of this together in the way Manchester City have done?”
City are the only club in the Premier League who have a stadium and training ground on the same complex — and this is one of the ideas Forest think is worth exploring at a time when Marinakis has set aside a huge pot of money for development.
“Mr Marinakis is incredibly ambitious,” says Cartledge. “If we did something with those two things together — the training ground and the stadium — you do that only once. When it comes to these big decisions, he takes an enormous amount of pride and responsibility in getting it right.”
Another area of interest to Forest recently can be located on the other side of Meadow Lane, Notts County’s stadium, on a large expanse of industrial land where there is an incinerator plant and a waste-collection unit.
It is on the other side of the Nottingham Canal from the Hooters bar, a short walk from the city’s railway station.
One option for Forest is to leave the City Ground (foreground) for an area of industrial land (circled), next door to Notts County (David Goddard/Getty Images)
That idea has not progressed, however, because the land is permitted only for industrial use. The city council has indicated there is no scope for that to change. That, in turn, explains why Forest have been looking at the suburbs. At least four sites have been discussed, Toton in particular.
Those talks will continue even if Forest, 17th in the Premier League table, drop into the relegation places — but there have to be some awkward questions, too, about how the dispute with the council was ever allowed to reach this stage.
In 2019, Forest announced, via a blaze of publicity, that they had been granted a new 250-year lease. Nicholas Randall, then the chairman, said he was “delighted” to secure the future of the club’s home ground. Yet, for reasons unexplained, Randall did not follow that up by telling the club’s supporters the agreement was never, in fact, completed.
In reality, Forest have continued operating by the terms of their old lease, which has 33 years to run and, before starting a major redevelopment at huge expense, the club need the securities and insurance of a much longer agreement.
“The rent, if you add it up for the next 33 years, comes to about £9.5million,” says Cartledge, who replaced Randall as chairman in August. “The proposed rent the council wants us to pay over 250 years is more than £250m.
“So if we are talking openly about the Football Association’s desire for financial stability and the future of clubs to be secure, it is simply wrong for us to sign up and put this club in a position where we have to pay £250million in rent to stay here.”
Supporters of a certain generation might recall this is not the first time that relations between the club and landlord have been fractious because of their lease agreement.
In 1991, the council proposed Forest’s annual rent went up from £750, as agreed in 1963, to £150,000. In the end, the two sides compromised at £22,000. Clough threatened to quit if the council got its way with a proposal for Forest and Notts to share a ‘super stadium’ on the old Wilford power station.
This time, however, the issue is complicated by the Labour-run council issuing a Section 114 notice in November to declare itself, in effect, bankrupt, meaning the government has sent in commissioners to take control.
The council says it has “a statutory duty to ensure best value for taxpayers”. Forest, however, say it is exorbitant that the current rent is £250,000 and the council allegedly wants almost four times that amount.
Cartledge says he has not had a response to “a very strong letter” he has written to the council to argue that the proposed terms are unreasonable.
Evangelos Marinakis has grand plans for Forest (Naomi Baker/Getty Images)
Four local MPs — three Labour and one Conservative — have tried to apply pressure on Forest’s behalf but they have found out, Cartledge says, that “the council’s predicament is very challenging and it’s hard for politicians to become involved now the commissioners are running it”.
David Mellen, the council’s recently departed leader, has said Forest cannot expect “mates’ rates”. However, the club’s frustrations stem, in part, from the absence of any real dialogue to find a compromise.
“We had dialogues with some of the junior officers, but nobody senior came forward,” says Cartledge. “That’s important context for the fans to understand. We are not just sitting here in a black hole waiting and hoping. We are trying to be proactive.”
The Athletic contacted Nottingham City Council for comment.
One of the reasons Cartledge was appointed by Forest is that he is the chief executive of Handley House Group, the parent company for four international businesses specialising in design and architecture. One of those is the Nottinghamshire-based Benoy, which has designed the plans for a new-look City Ground and would also be prominently involved in any stadium move.
In the meantime, word has got back to Forest’s hierarchy that the Jockey Club, owners of Nottingham racecourse, had a lease dispute of its own with the council and it lasted seven years. So how long do the club wait when Marinakis is impatient, as well as ambitious, and many fans feel frustrated that not a brick has gone down since the initial stadium development was announced five years ago?
All that can really be said for certain is that safe-standing areas will be installed at the City Ground over the summer and the roof will be solar-panelled as part of a new agreement with E.ON to be the club’s sustainability partner.
“Across all of our projects – new ground, existing ground, training ground; whatever we pursue – the owner is absolutely adamant the club should start to look to a future whereby we have no carbon footprint,” says Cartledge.
“Regardless of whether we are staying or going, the owner feels it is important for the goodness and wellbeing of the world. He won’t let the council delays stop us from doing what is right.
“We will work together on solar panelling and other energy-saving initiatives. And, critically, if the progress on other sites and discussions about where we want to go mean it is right to move, E.ON will form part of the team, looking at how a new stadium could be built off-grid and carbon-neutral.”
(Top photo: Darren Staples/AFP via 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.
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