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Football
Justice
5 min read

The 50-year injustice at the heart of women’s football

Now we need to do these two things to put right decades of disparity
A victorious women's football team celeberate.
It came home.
The Football Association.

I don’t normally like men’s international football. I spend all season wishing Bukayo Saka and Jordan Pickford nothing but misfortune and now, suddenly, I’m expected to cheer them on? Not for me, thanks. I’ll stick to revelling in scouse Schadenfreude when football, inevitably, does not come home. 

By contrast, I find the Lionesses much easier to support. That’s probably because, to my shame, I don’t really follow the Women’s Super League as much as I should. I don’t watch them with any petty grudges lingering in my mind. It does mean, however, that I can happily join the 12.2 million other people tuning in to watch Chloe Kelly hop, skip, and volley England to another European Championship. 

It also helps that they seem to keep winning in the most implausible ways possible. There’s a stat going round social media at the moment that, across all the knock-out games of this Euros, England were only ahead for 4 minutes and 52 seconds. Incredible. 

The Lionesses have – yet again – managed to show their nation the joy and drama of football and look set to inspire yet more women and girls to get involved in grass roots football. Women’s football, it would seem, is in rude health. But, look beneath the surface a little, and there are still significant disparities between the women’s game and the men’s game. 

In May, Chelsea effectively sold their women’s team to themselves: they sold the team to BlueCo (Chelsea’s parent company) for a reported £198.7m. This is not the first time Chelsea have engaged creative accounting. In April. 2024, the club revealed it had sold two hotels it owned to one of BlueCo’s sister companies (a move later upheld by the Premier League itself). A whole women’s football team – a good one, at that! – being leveraged for accounting purposes. 

Elsewhere, Liverpool Women’s Team sold their star player – Canadian forward Olivia Smith – to Arsenal for a world record fee of … £1m. To put that into context, Liverpool’s men’s team have already bought Florian Wirtz for roughly £116m this summer. They may add to that by buying Alexander Isak for anywhere up to £150m. And that’s to ignore the purchases Hugo Ekitike (£69m), Milos Kerkez (£40.8m), or Jeremie Frimpong (£35m). Moreover, the first male player to be sold by an English club was Trevor Francis, sold by Birmingham City to Nottingham Forrest. The year? 1979. 46 years ago. 

In purely financial terms, then, the women’s game seems to be about 50 years behind the men’s. And yet, there are the Lionesses. They have just retained the European Championship. They have made three finals in a row, winning the Euros twice and narrowly losing the World Cup final in 2023. By contrast, the men’s team famously haven’t won a major trophy since 1966. 

And so why does women’s football exist in an alternative financial universe about 50 years behind the men’s game? Well, I think a big part of it is making up for lost time. 

The FA banned women from playing at FA-affiliated grounds between 1921 and 1971. Did you know that? It’s one of the UK’s greatest sporting shames and yet it’s hardly common knowledge. How like this country to front up to its institutional mistakes with silence. 

For 50 years women were effectively unable to participate in the sport in any meaningful and professional way. 50 years. Where have we heard that number before? 

Prior to this, women’s football had been rather popular. Dick, Kerr Ladies FC regularly attracted matchday audiences of thousands. In 1920, the year before the FA ban, 53,000 fans went to Goodison Park to watch they play against St. Helens. For context, this is a crowd so big the vast majority of Premier League stadiums would not be able to accommodate it. It would fill Brentford’s stadium three times over, and there would still be people queuing up outside. 

For 50 years, men’s football was able to accelerate and grow while women’s football matches simply weren’t possible. Who knows where women’s football would be now, if it had been allowed to continue with the successes it had won for itself. 

The success of the men’s game is built, in part, upon the enforced stagnation of the women’s game. People watched men’s football because it was the only football it was possible to watch. Men’s football owes its success in part to this. I don’t see how we can say otherwise. In response to this, I wonder if there are two things the sport might do to attempt to rectify this somewhat: one big, one small. 

First, the big change. I wonder if there does need to be some form of reparations instituted to restore parity and to right the wrongs of the past? I know this won’t be popular. I love football, and I love it when my football club spends loads of money on players. I love that Liverpool (men’s team) might spend over £100m on two separate players this summer. I probably shouldn't be rubbing my hands at this, but if I’m honest, I am. 

But at least some of this money ought to be diverted away from the men’s game and funnelled towards the women’s game. If men’s football is built in no small part on the enforced cessation of women’s football, then this seems only to be right. It’s not about punishing men’s football or paying a penalty for wrongdoing. It’s simply about restoring back to women’s football that which rightfully belongs to it. 

Second, the small change. We should start calling men’s football teams ‘Men’s Football Teams’. When I talk about Liverpool Men’s Team, I just say ‘Liverpool’. I know, and anyone listening to me knows, that I mean the men’s team. I then add ‘Women’s’ when I’m talking about the Women’s Team. 

The effect of this is that the ‘Men’s Team’ becomes the ‘default’ way of thinking about football. It is the ‘normal’ way of engaging with the sport, and this is then qualified or relativised by my talking about ‘Women’s football’ elsewhere. ‘Women’s Football’ becomes a smaller sub-category of the bigger category of ‘football’ as a whole, which is implicitly linked to ‘Men’s football’ specifically. 

By taking the time to specify ‘Men’s Football’, we remind one another that football needn’t be played by men at all. That it, too, is just one way in which the sport might be engaged with or played. Not the ‘default’ or ‘correct’ way the sport exists. It’s a small change that, with time, may have a big effect on the way the sport as a whole of perceived. 

50 years of injustice cannot be repaired overnight. There is a lot of work to be done to undo the wrongs of football’s historic treatment of women. But the sooner men’s football starts, the sooner justice will be restored. 

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Review
Culture
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Justice
5 min read

Boom! I love this new Superman!

Eschewing ennui, it’s a great fairy tale for the modern age
Superman talks to his dog amid the ice.
Superman and Krypto the dog.
Warner Bros.

…and that’s what makes this film so enjoyable! 

Oh, apologies for any confusion.  

No tortuously ‘relevant’ preamble from me today. I’m starting the review right in the middle of the action, because that is exactly what Superman does. No initial slog through a ‘backstory’ that everyone knows – even my wife, who has never read a comic book in her life, is familiar with who and what Superman is. The closest we get to contextualisation is a quick sequence of text: informing us that Superman landed 30 years ago (adopted by the Kent couple, and given the name Clark), began his superhero career three years ago, stopped the fictional nation of Boravia invading the equally fictional Jarhanpur three weeks ago, and three minutes ago lost a battle for the first time. 

Boom! 

Then straight into the action! 

Superman lands in the frozen tundra of the Antarctic and can barely breathe. He lets out a whistle and the next thing we know there is a tremendous snowy disturbance. Krypto the Superdog dashes into view! No explanation – just delight in the fact that there is a mischievous canine with unbelievable power. Krypto drags Superman ‘home’ to the Fortress of Solitude. There the Superman robots heal him with a concentrated dose of radiation from the Yellow Sun which gives him his power. He immediately departs to continue his bout against the nationalist supervillain ‘Hammer of Boravia’, who is secretly being controlled by the evil genius and billionaire Lex Luthor. 

The pace of this film isn’t fast…its hypersonic. It flies by at the speed of Superman himself. There isn’t any lag, any let up. Even the quieter moments, such as those meditating on Superman’s dual identities (the alien superhero Kal El/Superman and the human reporter Clark) or his burgeoning relationship with investigative journalist Lois Lane, keep the story moving. Exposition doesn’t take place through inexplicable monologues; it is always pacy conversation, which teaches us something about the characters and their relationships and their motivations. 

This is the great triumph of writer/director/producer James Gunn. After his success over at Marvel Studios, he has taken the helm of DC and started to create a universe of characters and stories that doesn’t waste time with painful ‘exploration’ and moralising. This was always the issue that held DC films (arguably featuring the more beloved and well-known characters in comic-book culture) back from matching the success of Marvel. Christopher Nolan is a genius, giving us a superb Batman trilogy, and Zac Snyder produced an underrated dark take on Superman, but neither seemed to delight in the bright, bubble-gum, kaleidoscopic colourfulness of the comic-book medium. 

Gunn refuses to make his Superman film gritty or realistic. Characters appear in all their flash and bombast and are welcomed as cheery additions. The ‘Justice Gang’ are simply there – including the always enjoyable Nathan Fillion with an arrogant smirk and an almost offensive bowl cut. Luthor’s genius allows his to create a parallel dimension…why couldn’t he!? If we can suspend our disbelief to accept a protagonist who is an alien superhero, why not a mini-universe?  

There is none of the former focus on psychological trauma and existential crisis and the sheer overwhelming ennui of being. In previous films the ethical lesson wasn’t just ‘on the nose’…it flattened your nose with a Mike Tysonesque haymaker! Here, Superman simply IS. He IS good. He IS upstanding. He IS fighting for truth and justice. He refuses to allow political and public-relations considerations to corrupt and dilute his absolute commitment to do (and to BE) what is right. One of the most dramatic scenes isn’t a grand battle, it is a quiet moment where Clark allows Lois to interview him as Superman. The more she questions the realpolitik implications of stopping an invasion, the more Clark becomes incensed. How could someone not allow themselves to save innocent life and serve justice to the oppressed against the oppressor? 

The film is such a ‘sigh of relief’ in a bloated comic-book-film market. Yes, the script is hilarious – this is Gunn’s forte. Yes, the music is sublime – both John Murphy and David Fleming’s score (with wonderful nods to the John Williams original) and Mr Gunn’s own needle-drops. The performances are excellent across the board – special mention to David Corenswet, who doesn’t quite look like Superman to me…but boy does he embody the very essence of the character, to the point where you can’t imagine anyone else having played the alien since Christopher Reeve. But its truest strength and victory is its joy in the simplicity (especially moral) of this comic-book genre. 

This is what is so refreshing about Gunn’s vision. Superman IS pure. Lex Luthor (Nicholas Hoult not missing a baldy beat) IS so prideful and vain that it has warped him into something twisted and evil and collapsing in upon his own ego. Watching the film, I was put in mind of C. S. Lewis’ writing on the nature of fairy tales: 

“For in the fairy tales, side by side with the terrible figures, we find the immemorial comforters and protectors, the radiant ones…” 

Comic-books are the great fairy tales of the modern age…why would we make them brooding deconstructions of the human condition, a la Cormac McCarthy? That isn’t their point or purpose. Lewis again: 

“Since it is so likely that they [children] will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.” 

Gunn has given us a film that isn’t just fun and fluffy, but important. In his sugary, childlike wonder and delight in the genre, he has given us a tale of good versus evil that is a true fairy tale: something gleaming and good, something radiant and right, something attractive and aspirational. Superman is a fairy tale where we can be comforted and emboldened by the moral (nay, ontological!) certainties of love and hope.  

5 stars

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