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Will Premier League players really go on strike?

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Will Premier League players really go on strike?

It is the week when Manchester City begin another assault on the Champions League against the backdrop of a legal battle with the Premier League, yet Rodri, the club’s star midfielder, managed to take the conversation in an unexpected direction on Tuesday.

A question on the increasing demands being placed upon Europe’s elite players brought a pointed response. “We’re close to (strike action),” Rodri told reporters during a press conference previewing City’s clash with Inter Milan. “It’s the general opinion of the players and if it keeps this way, we’ll have no other option.”

The debate over football’s calendar has rumbled on and on, but Rodri’s words felt like a significant moment. One of the Premier League’s most gifted stars, a leading candidate for the Ballon d’Or prize next month, willingly made it known that industrial action has become a consideration for him and his peers.

A genuine threat or an idle bluff? The Athletic assesses how realistic a players’ strike might be in the ongoing battle to be listened to.

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Why are players like Rodri angry? 

Footballers, at least at the game’s summit, believe too much is now being asked of them. Expanded competitions have squeezed the opportunity for rest and ensure established international stars regularly go beyond the threshold of 55 games a season recommended by FIFPro, the global players’ union.

This season has only deepened misgivings. A new format in UEFA’s Champions League adds two more group games to a participating club’s schedule and the summer sees FIFA launch its new Club World Cup between June 15 and July 13.

The 2024-25 campaign began with Rodri and his Manchester City team-mates theoretically facing as many as 75 games for club and country. “It is too much,” Rodri said on Tuesday. “Not everything is about money or marketing. It is about the quality on show. When I am not tired I perform better.”

Rodri, in a few short sentences, pointed out the nuclear button in the players’ armoury. There has long been the belief that their views are not heard, a feeling entrenched by the creeping expansions overseen by both UEFA and FIFA. Pre-season and end-of-season tours involving extensive travel are also an uncomfortable norm that players are asked to swallow.


Rodri made 50 starts across six competitions for Manchester City last season (Justin Tallis/AFP via Getty Images)

The last six months, though, have brought an orchestrated response.

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Two of the biggest players’ unions in Europe, the English Professional Footballers’ Association (PFA) and the Union Nationale des Footballeurs Professionnels in France, launched legal action against FIFA in June, challenging the legality of the governing body “unilaterally” setting football’s international match calendar.

A month later, it was the European Leagues, representing professional football in 30 European nations, including the Premier League, teaming up with La Liga and FIFPro Europe to file a formal complaint to the European Commission against FIFA.

The new Club World Cup, FIFPro said, was the “straw that broke the camel’s back” and deep battle lines, with players at the heart of the fight, have now been drawn. Enough, they argue, is enough.


How would a strike actually work in practical terms? 

Rodri might have suggested strike action was “close”, but the train is still a good few stops from arriving at that point. This would have to be coordinated through either the PFA or FIFPro and would be considered a last resort should all negotiations with stakeholders fail.

The PFA, as English football’s only players union, would theoretically have to ask its nearly 5,000-strong membership base if they supported a strike and that would then require a majority backing from the ballot to proceed.

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Any competitions impacted, whether run by the Premier League, the English Football League, the Football Association, UEFA or FIFA, would also have the option to take retaliatory legal action blocking any planned strikes.

“We’ve really tried hard to engage with the relevant stakeholders,” Maheta Molango, the PFA’s chief executive, told The Athletic FC podcast last week. “So we’ve tried to do our best to reach a diplomatic solution — legal action is always a defeat for everyone.

“But sometimes when adult people cannot reach a solution, you need to have a third party deciding for you.”


The PFA’s chief executive, Maheta Molango (Steven Paston/PA Images via Getty Images)

Has it ever happened in English football before?

Go back to November 2001 and there was a very real danger of English football’s biggest names downing tools. The PFA had grown tired in negotiations with the Premier League, which wanted the traditional cut of domestic broadcast deals sent to the union reduced from five per cent to two.

Three months of discussions had come and gone without an agreement, leading to a strike ballot being called. Ninety nine per cent of players were in favour of boycotting any televised fixture. A date for strike action — December 1 — was even put in place. Gordon Taylor, head of the PFA, claimed Manchester United manager Sir Alex Ferguson and players, including Roy Keane, Gary Neville and Ryan Giggs, were supportive of their position.

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There were legal threats and injunctions, but the strike was eventually averted after eight hours of discussions between the Premier League and PFA in Manchester. Taylor did not get all he had wished for, but the £17.5million ($23m at current rates) offer was eventually deemed satisfactory.


Gordon Taylor in 2001 announcing that over 99 per cent of PFA members had voted in favour of strike action (Phil Noble – PA Images/PA Images via Getty Images)

And dig further into English football’s history, all the way back to 1960, and you arrive at a far more significant moment. The PFA, with Jimmy Hill as their flagbearer, sought to abolish the wage limit of £20 a week for players and relied upon the threat of strike action to force the FA and Football League to eventually relent in 1961.


What about in other countries or other sports?

Industrial action is far more common in the US, where the strength of players’ unions is felt with greater force.

The National Basketball Association (NBA) endured three lock-outs in the second half of the 1990s and another, lasting for five months, in 2011. That was the same year the National Football League (NFL) had its own when players and owners failed to agree a revised collective bargaining agreement.

Major League Baseball endured a lock-out as recently as 2022, the ninth in the organisation’s history. And then there is the National Hockey League (NHL), another well-versed in strained negotiations, player power and owners not blinking.

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Comparisons with European football, however, carry little weight. An elite player in England will feature in games organised by the Premier League, EFL, FA, UEFA and FIFA in a season and the presence of multiple stakeholders will always complicate negotiations over the welfare of a union’s members.


Which competitions could be vulnerable to a player strike? 

That is the great unknown, but what we can be sure of is the strength of relations between the PFA and the Premier League at present. For all the two were at loggerheads 23 years ago, with Taylor butting horns with Richard Scudamore, the two have become closely aligned in recent times. Do not see it as coincidence that that the PFA began one legal case against FIFA in the same summer months that the Premier League helped form a separate one.

The PFA — and, by extension, FIFPro — does not have an issue with domestic programmes, which broadly remain unchanged. There is also sympathy for the FA and EFL, whose competitions have been squeezed to the point of enforced reform in the modern era. It would, therefore, seem unlikely that any strike threat would have such a target.

Relations between the PFA and UEFA are more harmonious given the sense of greater consultation, so might the crosshairs instead fall on FIFA?

FIFA shapes the international calendar and is the focus of so much ire after introducing a revamped Club World Cup. Its defence might be well-versed and robust, pointing out that the games it organises account for a fraction of a player’s workload, but the unions have made their dissatisfaction clear.

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The Club World Cup is also the competition that has struggled to attract broadcast and sponsorship deals before next summer. It has the feel of the softest target for any players wishing to make their feelings known.

go-deeper

GO DEEPER

One year until the Club World Cup in the United States – what’s going on?


How likely is a strike? 

The easiest move would be to dismiss Rodri’s comments as hot air, but the concerns are too deep-rooted. Without meaningful change to the calendar, unions stress, there will come a time when players take a stand.

How that will look and when it will come, though, are questions not easily answered. The issues on workloads are the making of multiple stakeholders wanting more and the next challenge will be how to put the toothpaste back in the tube.

The players’ unions ultimately want a more prominent seat at the table of governance. It is why they have taken legal action against FIFA; a move to make their voice heard and reduce the demands placed upon its members.

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The initial action against FIFA tabled at the Brussels Court of Commerce in June will likely end up in the European Court of Justice at some point next year and the eventual decision will shape where all parties go next. The players’ unions will hope that marks a dilution of FIFA’s powers in charge of the international match calendar, leading to long-term reform.

Strike action, regardless of its likelihood, would remain problematic. It is worth ending with a comment from Stephen Taylor-Heath, head of sports law at JMW Solicitors, who spoke to The Athletic in June.

“It really drills down to issues of employment law between players and clubs,” he said. “There’s always been an uneasy alignment between employment law and football.”

And perhaps about to get a bit less straightforward, too.

(Top photo: Getty Images. design: Dan Goldfarb)

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Culture

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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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.

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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.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

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.

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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.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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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.”

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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.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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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

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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?

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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.

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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.”

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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.

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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.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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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.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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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,

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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.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

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.

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“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.

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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.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“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

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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.”

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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.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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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.

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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.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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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.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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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.

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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.

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Do You Know the Comics That Inspired These TV Adventures?

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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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Video: Our Spring Book Recommendations

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Video: Our Spring Book Recommendations

new video loaded: Our Spring Book Recommendations

A few editors from the New York Times’s Book Review give their recommendations for what new releases you should be reading this spring.

By Jennifer Harlan, MJ Franklin, Joumana Khatib, Edward Vega and Laura Salaberry

March 19, 2026

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