Review
Books
Culture
Football
Sport
5 min read

The book to help you fall back in love with football

Neil Atkinson’s Transformer isn’t the straightforward biography of Jurgen Klopp.
A fan holds an upside down football scrarf that reads 'Juergen is a red'.
Fan fervour, Anfield.
Lloyd Kearney on Unsplash.

Transformer is a fun book. I don’t mean to sound trite, or to damn with faint praise when I say that. I mean it. Transformer is a fun book, and frankly too many books I read aren’t fun.  

David Foster Wallace used to say something similar (yes, the same David Foster Wallace whose novel Infinite Jest is over a thousand pages and has actual honest-to-god endnotes): much of contemporary print media has lost its ability to be fun. And isn’t that what we’re in this for anyway? 

And that is, I think, why Transformer feels like such a relief, honestly. None of the trademark scouse humour and levity that has made The Anfield Wrap such a successful and appealing football podcast is lost in the transition to text. It is a funny book. It is a fun book. 

Of course, there’s a lot here that you might expect to find in a book about Klopp, too, like discussions of key games throughout Klopp’s time at Liverpool. There’s also lots of what Atkinson does best: insightful and thoughtful reflection on the nature of contemporary football. Whether this is the nature of tickets and ticket prices, the state of TV football punditry, or why Liverpool fans (generally) don’t sing the national anthem, there’s much here for football fans and non-football fans alike to mull over and learn from.  

But it’s also worth noting what’s not in the book. There’s no real prolonged deep dive into Klopp’s personality here. I don’t say that as a criticism, more as a matter of expectation-management for potential readers. This isn’t a biography or a character study, although there are elements of this, for example, in the chapter on Klopp’s ongoing footballing rivalry with Pep Guardiola.  

Whole pages, even chapters pass without Klopp being mentioned. If you’re going into Transformer hoping to learn about Klopp’s upbringing, his playing career, his faith, you’ll likely be disappointed. But that’s fine, because Transformer isn’t that book. 

So much of the book is awash with the warmth of friendship and humour and life. 

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Transformer is not a book about Jürgen Klopp. Obviously, ostensibly it is. Klopp’s tenure at Liverpool drives the book forward; provides its pulse. But this doesn’t explain why there is a whole chapter on the meaninglessness of football without Divock Origi. And it doesn’t explain the inclusion of sentences like the following: “27 November 2019: Knives Out is released, meaning Sadio Mané has competition for most flamboyant performance from a Liverpudlian in a calendar year.” 

But it’s not even really a book about Liverpool, or football in general. Or Benoit Blanc. It’s a book about fun. About joy. About life, why it matters, why it’s good, and why it’s better with others.  

It’s really a book about love. About loving a football club and loving and being loved by others in the midst of loving that football club.  

Atkinson states up front that this book is about the people he has known and loved during Klopp’s time at Liverpool. It’s his version of this story. But in being his version, he allows it to be my version, too, and yours. “I am going to refer to people and places you may not know and we may not always trouble ourselves with descriptions. You don’t need to worry. That’s because these people, they are your friends. They are you.” 

And this is why the book’s most emotionally fraught moments hit as hard as they do; because so much of the book is awash with the warmth of friendship and humour and life. When moments do stand out in stark relief from the very fun and love that Transformer is keen on have us believe in, they thereby make the case for their importance all the more clearly. 

An insistence of the fundamental unseriousness of football is an act of gleeful rebellion. It is to play a different game. 

Much has been said about Covid and football under Covid. Atkinson’s compassionate, understated treatment of it is genuinely beautiful at times. “People pass away, unmoored from time, separated from loves ones in the grimmest circumstances, and no one quite knows what to do.”  

When reading Atkinson’s memories of the inner turmoil of his last interview with Klopp – “It was hard because I wanted to talk to him. At him. With him. I just wanted to list all these things has been part of with us, but, of course, he is more interested in you, in your world” – it’s hard not to be transported back to the sheer shock of his abrupt leaving.  

In case it’s somehow not clear yet, let me state it here: I think Neil Atkinson is one the most compelling and insightful thinkers in and around modern football. This is in large part because of his insistence on what many forget: football is a game. It is supposed to be fun. It is supposed to be a fun game you enjoy with your mates.  

We are in a world of nation-states and quasi-nation-states acquiring football clubs for political purposes. One with relentless discourse about the minutiae of every refereeing decision. A world where there is a constant, low-level feeling that I am yet again being ripped-off and taken advantage of for having the audacity to want to watch a football match. So, an insistence of the fundamental unseriousness of football is an act of gleeful rebellion. It is to play a different game.  

“I don’t see anywhere near enough people writing about happiness in general, especially within the realm of football where grumpiness has become the order of the day.” Transformer is the apotheosis of modern footballing grumpiness. It is sincere, and earnest, and vulnerable. And I love it for this.  

If you are looking for a comprehensive biography of Klopp, this isn’t it. This is something better.  

When I spoke to him about Transformer, Atkinson said he wanted the book to show that football fans were normal, complex people. That they were accountants from Altringham, and theologians from Liverpool (if we can count theologians as ‘normal’ people). Transformer absolutely bristles with humanity. 

Humans were made for community, for mates, for each other, and for last-minute Divock Origi winners. Humans were made for football.  

If you want to remember why you fell in love with football – or if you want to understand why others fall in love with it – I can’t think of a better book to read than Transformer

Article
Culture
Film & TV
5 min read

The death of Hollywood

Out of the ashes, new stories will rise

Theodore is author of the historical fiction series The Wanderer Chronicles.

Studio executive's react.
Seth Rogan's The Studio, a Hollywood satire.
Apple TV.

There is no more obvious sign of the ailing of the Hollywood behemoth (if not to say, its actual death) than the utter failure of Disney’s latest live-action re-release of Snow White

According to Forbes, Disney’s total investment in the movie, including production and marketing, likely exceeded $350mn. To break even, it would have needed to take around $500mn gross at the box office, after distribution and movie theatre cuts. To date it has made just under $200million. 

If nothing else, that is a tremendous waste of money. But the essential problem seems to have been that the movie’s creators were trying to bend themselves (and the story) into pretzel-shaped contortions to satisfy the various demanding (and contradictory) ideological axioms of LalaLand. The result? Not only do they fail on their own terms: a movie about a young princess finding her inner girl power and leading an oppressed people to overthrow a tyrannical autocrat ends by setting up a new regime under one unchallengeable and all powerful ruler: a system of “Snow-White Supremacy”. It also fails on the archetypal axioms of story. There’s a reason why parents still read to their children the traditional version of Snow White, which scholars believe to be so long-living and so “true” that its roots seem traceable as far back as Ancient Greece. Modern storytellers mess with that long lineage of audience appeal at their peril; as no doubt several Disney executives have now found to their cost. 

Last month the veteran Hollywood screenwriter and novelist Andrew Klavan concluded, after watching the last annual offering of glamour-slick virtue signalling that is the Oscars, that Hollywood is indeed a dying beast. He argued that the collective movie-making culture has become so captive to a certain ideological mindset that it has prioritised that over the more basic and primary objective of telling stories. When ideology overrides the essence of storytelling - delivering stories reflective of life as it actually is and as we find it - then the art suffers and audiences instinctively turn away.  

Why? Because we all come to stories to find truth (even if it is dressed up in the “lie” of fiction). The problem with the ideological mindset approach to storytelling is not that it does not start with good intentions (let’s say a value like “compassion”); but that it drives towards and ends with outcomes very far from life as we know it to be. So, for example, compassion for allowing female-identifying men into women’s sport ends up with Olympic crowds applauding a man punching various women in the face to earn himself a gold medal. Or well-intentioned young people marching throughout the cities of Europe in support of terror groups who behead babies. There is a cognitive dissonance between the makers of movies imbibing and propagating this sort of mindset and their audience of millions. 

No wonder those audiences are tuning out. Because the central thing that people want from art are good stories. Good stories make us nod and say: yep, life is like that - however far-fetched the premise or the setting may be. Bad stories make us feel like someone has tried to sell us a lie. They are “phoney” - and at a gut level, we know it. 

So, if Hollywood’s time in the limelight (and the pay dirt) may be running out, where should we look for a new resurgence (dare we say, resurrection?) in the art of storytelling? 

“Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods.

It would be foolhardy to come down too hard on an answer to that question, since ultimately stories can and have come from anywhere. But if I had to lay down money on the kind of environment out of which any resurgence in the storytelling industry (whether of the moving image or the written word) will come, I would be betting on some sort of life-affirming, collaborative, creative network or community based around the foundational values of truth, goodness and beauty, and motivated by a shared desire to see the renewal and revitalisation of  Western culture everywhere.  

Such networks have been springing up with the ubiquity and rapidity of mushroom colonies all over the West, particularly in the US and across Europe. 

 Angel Studios has emerged as one of the more front-footed of these. This is a US-based media company that produces and distributes films and TV series with inspirational and faith-based themes: projects like The Chosen - the globe-conquering pay-it-forward re-telling of the Four Gospels - and Sound of Freedom, the latter grossing over $250million worldwide. (Disney take note.) 

While Angel’s content may have arisen out of niche audience demand (it was founded as a successor to the VidAngel app that sourced child- and faith-friendly content), other collaborative networks exist with a broader mission for cultural renewal. The Everything Network is one such example. A UK-based Christian network of leaders across multiple fields of society, it operates from the principle that, for centuries, society has benefitted from the way Christianity has contributed to the whole of life: from the art we create, to the laws we make, and the way we care for those in need. If God cares about everything, then the invitation persists for us to work towards the renewal of all things. 

This includes the stories we tell. Hence, under one aegis, authors, poets, or screenwriters are connected with financial backers, producers, directors, animators, marketeers and so on. Implicit within the network’s mission is a recognition that stories have the power not just to entertain, but to change the world. For good and for bad.  

Just look at the Bible. 

At a more modest level, creative networks are coming together all over the West: in churches, across the broader arts and entertainment landscape and so on, in part as support communities for people working in those industries, but also as incubators for collaborative output. Some are more ambitious than others. And many are proving the truth of the proverb: “Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods. 

So, if truth, beauty and goodness are the weapons on the battlefield of imagination, and the soul of the world is the prize, perhaps these emerging creative networks are the divisions, the battalions, the platoons deployed along the front line. Time will tell which are most effective. 

What is certain is that, long after Hollywood’s spell over us all is broken, humans are still going to want to hear good stories. Stories that tell us something meaningful and true about life as it appears before us.  

I’ll have my bucket of popcorn ready just in case.

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