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Is Goodison Park a place of worship?

Delve beyond the identity and the inspiration.

Henry Corbett, a vicar in Liverpool and chaplain to Everton Football Club.  

  

Football fans wearing blue stand and watch a match in a stadium.
Everton fans hope.
Everton F.C.

In some places football is considered a religion. No more so than in Liverpool. Its citizens revere not just one team but two - the Blues and the Reds.  

It's a divided city. Some wear the blue of Everton FC, others the red of Liverpool FC. A mere mile separates the stadia where supporters pay homage to their heroes.  

As the chaplain to Everton, I often contemplate this devotion. Is Everton’s stadium Goodison Park a place of worship? And is football really a religion?  

The quick answer is “Yes” and “No”. Goodison Park is surely a place of worship, and football is not a religion, though that second answer may need a bit of a defence.  

That football grounds are places of worship is instanced at every game played: chants of praise are sung and worth is given to the players, the team, the history, the manager, maybe even the owner.  

Goodison Park has hosted games since 1892. The attendance at the ground’s opening was 12,000, the cost £3,000, and the point of it all? Everton Football Club had begun in 1878 as St Domingo’s, founded by a Methodist minister. The Rev Ben Swift Chambers wanted to keep his St Domingo’s Church cricket team fit during the winter, and the cricket team was to help young men stay away from less worthy pursuits. Similarly, Manchester City was founded by Anna Connell, the vicar’s daughter, to keep young men on the streets of East Manchester away from trouble.   

St Domingo’s then became Everton FC and later came the move to the new stadium on Goodison Road. The crowds brought gate receipts, the players and staff needed wages, and football clearly becomes a business as well as an activity to help young men avoid trouble.  

Then and now the game is entertaining, the outcome is unpredictable, and the players can show outstanding skills, athleticism, courage, resilience, teamwork.   

That’s where the worship naturally comes in. Awe and wonder are important human attributes, and Evertonians have delighted in the skills and character of players down the club’s 147-year history. At every football ground there will be chants for players that celebrate their skill, character, achievements, giving worth to their ability. And yes, there may also be chants doing the opposite of worship to the opponents and to the unlucky referee just trying to do their job. The team is celebrated and worshipped, sometimes in language that is hard to believe: “We’re by far the greatest team the world has ever seen” can feel like undeserved worship when Everton are struggling to avoid relegation. Such optimistic sentiment may reflect Evertonians’ awareness of the importance of history and the bigger picture! Another chant begins “And if you know your history...”.   

Outside Goodison Park is a statue of Dixie Dean: he scored 60 league goals in the 1927-28 season and his ability and achievement is worshipped, given great worth, by many before and after a game. The other statue outside the ground is of the “Holy Trinity”, Howard Kendall, Alan Ball and Colin Harvey, the midfield three that helped bring the League title to Everton in 1970. Many such players in the history of the club have received and still receive worship. Goodison Park is a place of hope, frustration, joy, anguish, and, yes, of worship.  

But is football a religion? Goodison Park is called by some a cathedral, the club has fans, it conveys an identity, the game offers principles for living such as teamwork and the valuing of different gifts.   

Yes, football is like a religion, and understandably religious language and gesture are often used around the game. “Salvation!” says the commentator as Graham Stuart scores the winning goal in the 3-2 win over Wimbledon to keep Everton in the Premier League. Television cameras can home in on a supporter clasping their hands in prayer at some decisive moment.   

And yes, football can play a part in someone’s life that is very like the part a religion can play: it can become the most important thing, it can shape mood, behaviour, it can provide long-lasting rituals.  

But it is one thing for football to be like a religion in some respects, it is another for it genuinely to qualify as a religion.   

This of course begs the question “how are you defining religion?” I am going for the stronger definition. So, I’m not agreeing with a statement such as “shopping is your religion”. I would rather say “shopping is one of your passions, interests, maybe overriding interests, but no, not a religion”. Some of the stronger dictionary definitions include “A system of beliefs, symbols and practices that addresses the nature of existence”, and “the way people deal with ultimate concerns about their life” and “a set of beliefs concerning the cause, nature, and purpose of the universe”.   

Does football meet those definitions, does football answer the deepest questions of life?  

Who am I? An Evertonian, but deeper than that, who am I?   

What is the purpose of my life beyond hoping Everton win football matches?   

What happens after death?   

Football does not address those ultimate concerns. It is like a religion in offering identity, inspiring worship, having a gathering point like Goodison Park for communal activity, but it is not a religion as it does not address those ultimate questions.  

I will be going to worship the skills and characters of players, coaches, staff and manager at Goodison Park before the season ends, but I don’t see my love of football as a religion. The Christian faith is my religion: it addresses the deepest questions, the ultimate concerns, just as other religions seek to do.   

There is more to life than football. As an Everton manager, a practising Catholic, Carlo Ancelotti once said: “Football is the most important of the less important things”.  

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I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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