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Belief
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5 min read

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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Article
Belief
Culture
Film & TV
Identity
5 min read

Wednesday works wonders bringing the outsiders in

Tim Burton’s echoes of C.S. Lewis

Lauren Westwood works in faith engagement communications for The Salvation Army.

Wednesday Adams scowls while Enid smiles.
Wednesday and Enid.

There’s something delightfully ironic about the mainstream success of Wednesday – Netflix’s Addams Family spin-off directed by Tim Burton. With its whimsy gothic aesthetic, star-studded cast and viral TikTok dance to boot, the first season was a highly bingeable hit in 2022. This summer, the split-release of season two scored over 50 million streams in its first five days. But beyond its cult-like reception lies something deeper: a collective reckoning with identity, acceptance and the desire to belong. 

Jenna Ortega’s Wednesday Addams is an outsider among outsiders. Upon returning to Nevermore Academy – a supernatural boarding school meant to be a haven for ‘freaks, monsters and outcasts’ – she finds herself more alienated than ever. Don’t feel sorry for her: she’s difficult, destructive and I’m not sure I’d want to share a dorm with her (or her pet disembodied hand, Thing.) But that’s why we love her so much. 

Wednesday ‘taps into that sense of not quite fitting in that everyone has,’ praised Marina Hyde on her The Rest is Entertainment podcast. ‘We all feel like we’re the kind of excluded weird mad kid from Burbank, as he [Burton] was growing up.’ 

C.S. Lewis termed the phenomena of not quite fitting in as the ‘Inner Ring’ – the unwritten systems of belonging that permeate all areas of life, from early youth into old age. It can neither be fully defined nor totally avoided. Lewis suggests that all people, at some point or another, experience this ‘desire to be inside the local Ring and the terror of being left outside.’ Ultimately, he warns, this pursuit of surface-level or self-furthering belonging ‘will break your hearts unless you break it.’ 

Lewis, one of Christianity’s most profound cultural influencers, was stirring a deeper call among his fellows Christians: to remember that the gospel is not just good news for those sitting comfortably in the pews – it’s good news for those outside. It’s good news for those searching for belonging in a world that prizes conformity and feasts on exclusivity. 

Tim Burton’s genius lies in his ability to reach out, subverting the mainstream and dismantling the Inner Ring, seemingly with ease. Everyone’s an outsider, so no one is an outsider. As in Edward Scissorhands or Jack Skellington from The Nightmare before Christmas, Burton’s decision to not only tolerate but to celebrate the outcast bridges the gap between the socially excluded and socially accepted. 

The sense of belonging that Burton creates doesn’t feel twee, manufactured or forced. It isn’t the sort of embrace that comes under strait-laced conditions, either. He cultivates spaces where the strange, the sad and the misunderstood become protagonists, empowered to tell their own story. He boldly platforms that which is different, unwilling to conform or compromise. Even the visual language of his work is distinct and unashamed, and his trademark scribbled twists and turns that creep into set designs, costumes and title sequences. 

In Wednesday, this contrast is emphasised by a window that is half-spiderweb, half-kaleidoscope, dividing the room that Wednesday shares with Enid, the optimistic and bubbly roommate. They’re an extreme black-cat, golden-retriever pairing who have little in common, except for feeling that they don’t fit in. 

Their desire for belonging and acceptance looks different. Enid cares very much about how others view her, whereas Wednesday’s cold defiance masks her vulnerability to be seen, known and accepted. This symbolic shared space, and the friendship that is imposed upon Wednesday by Enid, signals a deeper truth: belonging is not found in sameness, but in recognising what connects us and how we can honour one another in spite and because of our differences. 

The subversive nature of Burton’s imagined universe holds a dim mirror to the liberating reality of God’s Kingdom.

While Burton elevates the outsider, his worlds often remain solitary and cut-off. But the Church, at its best, offers not just visibility but the embrace of fellowship. Jesus consistently chose people on the margins – lepers, tax collectors, women – and invite them into relationship. The gospel accounts for him taking less efficient travelling routes seemingly to encounter the lonely, the sick and the despised, to share news of their belonging to God, whose love for them was so strong that he would dwell not only among them, but within them through his Spirit. 

The culture of the early church was informed by Jesus’ example, and their meetings were a mosaic of cultural, ethnic and social diversity, brimming with unlikely partnerships and clashes of custom. Paul reaffirmed the concept that all are ‘one in Jesus Christ’ in his letter to the church in Galatia, declaring that ‘there is neither Jew nor Gentile, neither slave nor free, nor is there male and female.’ This is not a call to erasure, but to radical inclusion. Rather than everyone being an outsider, as in Burton’s world, everyone is an insider in the Kingdom of God. 

Perhaps it isn’t about whether Tim Burton or the Church has done more for outsiders, outliers and outcasts, but to invite personal challenge: Am I willing to get used to different? To disturb my norms, routines and expectations in the name of mutual inconvenience? To embrace a little mess and chaos for the sake of greater unity? 

The subversive nature of Burton’s imagined universe holds a dim mirror to the liberating reality of God’s Kingdom, where the last are first, the poor receive a rich inheritance, and the margins become the centre. Where Burton’s audience may find solace in shared strangeness, the gospel offers something greater: a home not built on similarities and commonalities, but on divine welcome and spacious grace. And an unlimited set of keys to welcome others to their room, too. 

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If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
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