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Addiction
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Football
Sport
6 min read

An irresponsible gamble

Out-of-date law and human nature mean sports betting is more than harmless fun – it ruins lives, argues Sam Tomlin.

Sam Tomlin is a Salvation Army officer, leading a local church in Liverpool where he lives with his wife and children.

The edge of a football pitch showing an advertising hoarding with a betting brand name on it.
Lars Schmidt, via Wikimedia Commons.

On 21st April 2021 husband and father of two young children Luke Ashton took his own life. Suicide is the biggest cause of death for men under 50 in the UK, but this suicide had a particular source. As recounted by his widow and now anti-gambling campaigner Annie, Luke developed a gambling disorder linked to his support of Leicester City and football gambling more generally. Getting furloughed in the pandemic exacerbated the problem and he succumbed to aggressive advertising on his smart phone, losing more and more money to the point of despair and no return. 

I am not surprised to hear of stories like Luke’s. That’s because I am a Salvation Army officer. Some may view the pledge to give up all forms of gambling when you join its ranks as archaic and over-the-top, but this insistence by the Salvation Army, which was founded in the 1800’s, was a response to the devastation to lives addiction can cause. Far from being a thing of the past, gambling continues to wreak havoc, especially in poor communities like the one I live and serve in today. I have had personal items stolen and pawned to fund gambling addictions and have heard of people losing thousands of pounds in a few hours.  

Recently our church was part of a local campaign to stop an iconic building from being turned into a cashino, something which we and others in our community knew could have a devastating impact. Thankfully the company withdrew the application, probably because of local opposition, but areas of high socio-economic deprivation like ours are always under such threat. 

If you force young people to endorse addictive products, don’t be surprised if they use them.

I have friends who gamble on sport and tell me it is just harmless fun. It makes the experience more exciting when you have money on it, they say, something sports betting companies focus on in their advertising. While not every gambler is a problem gambler (Public Health England estimates there are 2.2 million who either are problem gamblers or are at risk of addiction), I am not convinced that it is harmless fun for two main reasons. 

Firstly, the risk of ‘harmless’ gambling turning into problem gambling is not adequately managed by UK legislation. The 2005 Gambling Act refers more to gambling by post than online gambling and was passed at a time before smart phones. This legislation, intended to boost the economy through liberalising gambling laws, has allowed sports gambling to spiral out of control; 40% of Premier League clubs are sponsored by a betting company with many more in lower divisions. Concerns have been raised about transparency on behalf of these betting companies and it seems clear that these companies exploit the Premier League’s global profile to reach potential customers in countries like China where gambling advertising is banned. Aston Villa recently responded to a supporter backlash against a new sponsorship deal but made it clear that money talks: for clubs outside the top six (who can attract significantly greater deals), betting firms offer ‘twice as much financially as non-gambling companies.’ 

My team, Bristol City, had a gambling sponsor for many years until this season – although ironically children’s shirts had the sponsor changed in a tacit acknowledgement of potential harm. Hypocrisy in football betting runs much deeper though. Ivan Toney the Brentford striker currently faces a lengthy ban for a breach of the FA’s betting rules, but as The Big Step campaign (led by people harmed by gambling) pointed out – with various pictures of Toney receiving awards and shirts with gambling sponsors on them - ‘If you force young people to endorse addictive products, don’t be surprised if they use them.’ 

It is almost impossible to watch a match on TV without being bombarded with free bet offers and the latest deals with former players enticing fans to gamble their money with a few simple clicks on their phones. One recent study questions whether it is possible to gamble responsibly in an age of smart phones, and outlines significant potential harm even for ‘low and moderate risk gamblers — including relationship problems, being distracted, lost opportunities across work and personal life, secretive behaviours, and a compulsion to open and continually re-engage with the app.’ 

A review of the Gambling Act is currently being carried out, but frustration is growing as publication is delayed. While a blanket prohibition on gambling would neither be practical or desirable, campaigners hope that steps will be taken to restrict gambling advertising in much the same way that advertising for smoking has been banned. The gambling industry cite the contribution gambling brings to the economy, but a report by the Social Market Foundation suggested that tighter regulation could actually boost the economy and in 2016 it was estimated that gambling addiction cost the economy £1.2bn a year. For a society built on an understanding of ‘freedom,’ however, as defined by challenging anything that might hinder our individual wills, gambling may constitute the example par excellence of the confluence of social and economic liberalism. Any significant change to legislation will be hard-won. 

The second reason is that gambling promises more than it can ever actually deliver. This is why it so often ends in harmful addiction – it can never truly satisfy what are ultimately spiritual needs, so it continues to draw you further and further in until you are no longer in control but it controls you. 

There are perhaps three main reasons people gamble: the desire to win money, the social aspect and the thrill or excitement. There is no doubt that gambling offers the possibility of fulfilment, to some degree, for all these things: occasionally people win large sums of money, it can make sport more exciting and help make the social experience more fun. 

We are indeed made for community and the communal enjoyment of sport.

As Christians see it, however, gambling offers an unreliable and ultimately unsatisfying route to fulfilling these desires. The Bible warns us about the love of money and encourages honest work as opposed to chance for earning what we need to live It also points to the importance of charity and justice for those who do not have enough. We are made for community and the communal enjoyment of sport is a gift from God (as I have written about in the past). It is perfectly possible, however, to enjoy sport without gambling – really supporting and following a team or player comes with enough ups and downs to produce a wide range of emotions; I have cried, bitten my nails, hidden my head in my hands and hugged random strangers often during one single game. It could be argued that even non-problem gambling contributes to fund an industry that demonstrably preys on vulnerable people, failing the command to love our neighbour. 

We are also created to experience thrill and excitement beyond the mundane aspects of everyday life, but the greatest drama according to the Christian faith is found in being caught up in God’s redemption of the world, ‘reconciling all things to himself’ as we read in the New Testament. As many Christians will testify – even the most exciting Hollywood film is a pale imitation of the excitement and drama of giving up your life to follow the way of Jesus, and this is certainly true of the fleeting and temporary thrills experienced through gambling. 

Unlike some religions which want to supress desire, the Christian faith affirms desire as a good thing. The question is, what our desire is aimed at. Augustine once said that our hearts are restless until they find rest in God. Created things or activities like sex, possessions, money or experiences are good when enjoyed in the right context, but when – like with gambling - they promise more than they can deliver, more often than not it ends in dissatisfaction and potentially even disaster as Luke Ashton’s story tragically demonstrates.  

Article
Belief
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Film & TV
5 min read

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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