Column
Creed
Football
Grace
Sport
8 min read

Manchester City and the surprises of Grace

What a footballing dynasty's dominance tells us about the problems of meritocracy

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A football team wearing a sky blue kit leaps for joy holding a trophy.
Celebrating winning the English Premiership.
Manchester City.

So Manchester City didn’t quite win the double double. Manchester United, against all the odds, spoilt the party and created their own by winning the FA Cup. But City won the Premier League yet again. That makes six times out of the last seven seasons. It would take a brave person to bet against them doing it again next season. Supporters of other teams look on with a mixture of resentment, admiration and envy. Despite losing the Cup Final, Manchester City fans are basking in the time of their lives.

When our team wins, we football fans gloat. Especially over our rivals. We all do it. We assume it means our team is superior, that victory is deserved, that there is some kind of moral credit involved in winning. Football fans are meritocratic to a tee.  

In 2020, Michael Sandel, Harvard Professor of Political Philosophy published The Tyranny of Merit. In the book, he traced the rise of the idea of meritocracy, the notion that if you succeed in life it is to your credit, and if you fail it is your fault. We talk about “going as far as your talents take you”, “getting what you deserve in life” and so on. Speaking from the American context in particular, he argues, it means a belief that we are masters of our own fate, that achievement is to our credit and failure due to our fault.  

He also sheds light on the dark side of meritocracy. The most important factor in whether people voted for Trump or Brexit was educational background. Getting into college or university meant you stood a much better chance of landing a good, well-paid job and rising through the rungs of society. And if you did so you tended to end up more liberal in political and social outlook. If you didn't go to college, you were more likely to stay in manual or blue-collar work, looking at a distance at the educated class of people who ran the government, the economy and the legal system, and feeling they didn't represent you.  

Meritocracy, Sandel argues, generates on the one hand hubris and on the other hand shame. It makes the successful feel proud in their own achievements, looking down with a secret smugness at those who didn't get the big jobs with the big money, and on the other, generates resentment and a sense of shame in those who missed out on the educational and financial gravy train.  

A meritocratic society makes parents more and more obsessive about getting their kids the advantages that will set them up for life. Yet such obsessive parenting for success has so often led to an epidemic of teenage depression and distress. College life becomes increasingly competitive, aiming to build an impressive CV to land the big jobs when you leave university for the big wide world of competition. 

Yet the reality is, he argued, that most of what made for ‘success’ was fairly random and the result of chance. If you happened to be born into an educated family with a reasonable income you are more likely to get the education that would keep you within that class. Without that origin it is much harder to break through the social barriers. Of course, there are plenty of examples of people born into disadvantaged circumstances who rose through the ranks to get good well-paid and high-profile jobs. Yet such stories fit neatly into the meritocratic story, as these people are held up as the poster boys and girls of meritocracy - exemplars of precisely the kind of moral virtue and character that is needed to succeed.

Some would say beautiful brand of football that out-passes and outplays virtually everyone else. 

Aristocracy by contrast, may have contained many flaws and inequalities, but at least the poor didn't feel that their poverty was their fault. We talk about our talents as ‘gifts’, which implies they have been given to us rather than earned by us. If we happen to have a talent for numbers, for writing, an instinct for strategy, reading people well, or managing stress, that is not really to our credit but something we have inherited in our personality. Of course we can and need to develop these skills, but again society has a fairly random way of rewarding certain talents and not others - we pay people skilled at football far more than people similarly skilled at netball, and hedge fund traders far more than nurses.

So what does all this have to do with Manchester City?

In September 2008, Sheikh Mansour Bin Zayed Al Nahyan, a member of the Abu Dhabi royal family, who is currently the vice president and deputy prime minister of the United Arab Emirates, completed the purchase of Manchester City, a club that had finished ninth in the Premier League the season before and was without a trophy in 32 seasons. From that moment they had the financial resources of virtually an entire Arab state at their disposal. Since then, they have spent a net amount of £1.4 billion on transfers. They hired the best manager and the best striker in the world, and play the most finely-tuned, relentless, some would say beautiful brand of football that out-passes and outplays virtually everyone else. In a recent match against Tottenham, they lost their number one goalkeeper Ederson to injury who was then replaced by Stefan Ortaga, who played a blinder and effectively won the league by keeping Tottenham from scoring. Ortega would walk into almost any other Premier League club. City’s strength in depth is such that they could almost turn out two teams that could win the Premier League on their own.

If the mind of Sheikh Mansour had gone in a different direction, Reading fans might have been celebrating a treble by the M4, or Wigan could be playing Real Madrid.

Back in the 2008 season, presumably the group from Abu Dhabi looked at the Premier League table for clubs they might buy, presumably discounting the already successful ones like Manchester United (who won the league that year), Chelsea, Liverpool or Arsenal. Looking just below City, they would have seen Blackburn Rovers in 7th (who had won the league as recently as 1995, Portsmouth in 8th, or a little lower, Middlesborough in 13th or Wigan in 14th. Sunderland, Bolton, Reading, Birmingham and Derby made up the numbers further down the table.

Of these teams, this past season, Portsmouth, Derby, Bolton and Reading played in the third tier of English football, struggling to make ends meet before small crowds against small clubs such as Stevenage, Burton, Fleetwood and Bristol Rovers. Birmingham were relegated into the third tier. None of the others were playing in the Premier League, let alone the Champions League.

Manchester City, by contrast, in their spanking new stadium, fresh from a season where they had won the treble (Premier League, FA Cup and Champions League), were winning the World Club Championship, marching towards another League title, only just missing out on the Champions League on penalties in the semi-final.

Did the rulers of Abu Dhabi consider buying Reading? Or Blackburn Rovers? Or Portsmouth? Whether they actually did or not, in theory they might have done. In other words, picking out Manchester City has a high degree of randomness. If the mind of Sheikh Mansour had gone in a different direction, Reading fans might have been celebrating a treble by the M4, or Wigan could be regularly playing Real Madrid.

Maybe they can teach us the humility of knowing that our success or failure is much less to our credit or fault than we think.

Manchester City is a prime example of the element of randomness in success.  Now of course it's not all random. Many other clubs have spent huge amounts of money but without the success of Manchester City. You have to say their owners know how to run a football club, unlike the shambles of the owners of clubs such as Chelsea or Manchester United in recent times.

Yet there is undoubtedly an element of sheer chance, luck, or to put it in Christian terms, undeserved Grace about it. Manchester City’s being chosen by Abu Dhabi is a strange worldly echo of the Christian doctrine of Election (no - not that election!). This is the idea that in the Bible, God chooses a part out of the whole, for example choosing Humanity out of all the species of animal life on the planet to look after and care for it, choosing Israel out of all the nations of the world to bear the message of God's care and love for that world, and choosing the Church as God’s chosen people, to bear witness to Jesus Christ the Saviour of the world.

The difference in this Christian notion is that election is never for success. God does not choose humanity, Israel or the church so that they can outstrip all the others and bask in their own superiority, even though all three have fallen into the trap of thinking that way many, many times. God chooses them precisely so that they might be a blessing to the rest of the world, the channel through which God desires to pour out his goodness to everyone, the bearers of a message of good news that everyone needs to hear. Election therefore breeds not a sense of superiority, but a deep sense of humility at having received a status that was not earned, undeserved, but that carries great responsibility.

So Manchester City's triumphant progress is perhaps an object lesson for the rest of us, that any success we may have achieved in life, anything we are tempted to boast about, whether privately or publicly, is not as much to our credit as we think. Just as they were plucked from mid-table obscurity to become one of the great teams of recent times, while the likes of Reading and Wigan languish in mediocrity, a large part of any success that may have come our way, is not down to our credit, but derives from a gift, something bestowed on  us, so that we might use whatever good comes our way to raise up others and be a blessing to those who don’t have such fortune.

While Manchester City win everything (and it won’t last, as we Manchester United fans know only too well) maybe they can teach us the humility of knowing that our success or failure is much less to our credit or fault than we think. We can learn generosity to those less fortunate than we are, contentment when things go badly, and gratitude for the grace that we have neither deserved or earned.

Article
Creed
Egypt
Film & TV
Freedom of Belief
6 min read

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An graphic image shows 21 men in orange suits kneeling in front of executioners in black.
MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.  

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.  

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.  

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.  

We knew a story, now we’re hearing their story. 

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.   

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,  

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.    

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.  

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.  

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.  

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.  

40 days, that’s how long the twenty-one were held for.   

960 hours.  

57,600 minutes. 

3,456,000 seconds.  

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.  

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes. 

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.  

 ‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’ 

 This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.  

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.    

Watch the trailer

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