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PSG’s win signals politics over purpose – other institutions take note

When church and football feign neutrality, politics can ride roughshod
A footballer holds up the European cup, behind him fans are jubillant.
PSG fans celeberate.
PSG.TV.

There’s a new name on the Champions League trophy.  

In the most one-sided final in the competition’s history, Paris Saint-Germain trounced Inter Milan 5-0 to lift Europe’s most prestigious club trophy for the first time in their history. 

But this is not the PSG of recent years. Gone are the Galacticos: no Messi, no Neymar, no Mbappe. Where previously PSG resembled a 13-year-old boy’s attempt to win Football Manager by just buying all the best players, this year’s team looks like … well, a team. 

And what a team. Vitinha is metronomic in midfield. The game is played at his pace. He is the jazz instructor in Whiplash. “Not my tempo,” he says, over and over again, until reality bends to his will. Hakimi and Mendes are boundless balls of energy as the two wing-backs. They always threaten and it is no surprise that Hakimi gets the first goal. 

And then there are the forwards. 19-year-old Désiré Doué somehow looks the consummate professional at such a young age. Ousmane Dembélé has a quiet night by his standards, but the Barcelona reject looks born to play for this team. Khvicha Kvaratskhelia is the kind of footballer you imagine yourself as when playing on school playgrounds. So unorthodox, but simply irresistible. The ultimate jumpers-for-goalposts footballer. He may well be the closest thing football has to a personification of what the sport is all about. He is joy and flare masquerading as a 24-year-old Georgian lad. 

At the helm of it all is Luis Enrique. Enrique’s teams are aggressive, fluid, and intelligent. “They pass forward with spite” Steven Gerrard says during the TV coverage of the match. What a line.  

In 2019, Enrique lost his youngest daughter Xana to bone cancer, aged just nine. To hear him talk about his loss is heartbreaking. At full-time the PSG fans unveil a picture of Xana with her dad in a genuinely tender moment of compassion and humanity. 

All this is to say that, wherever you look, this incarnation of PSG is a deeply, deeply likeable one.  

But then, that’s the point, isn’t it? 

PSG were taken over by Qatar Sports Investments in 2011. Qatar’s near 15-year involvement with the club has led to eye-watering sums of money being spent with the stated aim of winning the Champions League. In 2017, they sign Neymar from Barcelona, meeting the €222 million release clause in his contract. A fee so deliberately high no-one would ever meet it. A fee still unsurpassed eight years on.  

While the age of the superstars may be over at PSG, they still have European football’s highest wage budget by some distance (an impressive feat when you remember that Real Madrid exist). Their Georgian talisman Kvaratskhelia only moved to the club in January for a reported €70m. Hardly loose change. 

Paris Saint-Germain is a Qatari ‘sportswashing’ project. An attempt to make a political regime palatable to European sensibilities by assembling a football team that is deeply, deeply likeable.  

And it certainly seems to be working. Rio Ferdinand, on co-commentary for the final, declared that a PSG victory would be ‘good for football’. So did Jason Burt, chief football correspondent for The Telegraph in an article that unironically has a subtitle starting “They may be funded by a nation state but …”. 

This is why I find it so disingenuous when people demand we ‘keep politics out of football’. (And anyway, what people often mean here is that they’d like to keep left-wing politics out of football, like the ‘take a knee’ or ‘rainbow laces’ campaigns). Politics is already in football and has been for quite some time now. If you haven’t spotted it, you simply haven’t been paying attention. 

I like Luis Enrique. I adore Vitinha. Kvaratskhelia makes me misty-eyed about the very nature of football. But PSG winning the Champions League is bad for football, because it’s a political victory before it’s a sporting one

PSG’s triumph is a timely reminder to the Church that it must remember the political nature of the call placed upon its very existence.

As is so often the case, football and religion find parallels in one another. For the Church, too, all too frequently finds itself as a political football. Debate continues about the place of Church of England Bishops in the House of Lords with only 33 per cent of Britons keen for religious leaders to express political opinions.  

But while this would certainly make the Church’s life easier, it’s simply not an option available to it. 

‘Gospel’ is not a Christian term. Not originally. It was a term used to describe an announcement or decree made about the Roman Emperor, a practice the Romans adopted from the Greeks before them. It is, in other words, an intractably political term. It is the ‘party-political broadcast’ of the ancient world.  

In hijacking the term ‘Gospel’ as a description for Jesus’ life and teaching, the early Church announces itself as an irrevocably political entity from its very beginnings. A body of people called to proclaim a political message. Or, at least, a message with significant political implications. Christ is king; Caesar is not.  

This does not mean that the Church is inherently left- or right-leaning. The Church is far older than this simplistic understanding of politics and will surely outlive it, too. But it does mean that the Church has a stake in the politics of the day; that it cannot be politically disinterested without simultaneously compromising something of its most fundamental identity.  

PSG’s Champions League win is not the first by a nation-backed club. Manchester City – principally owned by Vice President of the United Arab Emirates Sheikh Mansour bin Zayed Al Nahyan – won the Champions League in 2023 (also beating Inter Milan in the final; bless them). Depending on what we make of Roman Abramovich’s connections to the Russian state, it’s also worth noting Chelsea’s wins in 2012 and 2021, too. 

But PSG’s win – and the emphatic nature of it over one of the ‘old guards’ of club football – feels like a watershed moment for the sport. It is the culmination of the past 20-or-so years of both football’s internal politics, and the external politics acting upon it. It is a worrying statement of intent of its direction of travel, too.  

When Christianity and football feign political neutrality, they simply invite the dominant politics of the day to ride roughshod over them. Insidious politics will always fill any vacuum available to it. PSG’s triumph is a timely reminder to the Church that it must remember the political nature of the call placed upon its very existence. Otherwise it will find itself a mouthpiece for a kingdom to which it does not belong.  

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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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If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

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