Review
Culture
Football
Sport
5 min read

Shootout: what penalties say about life

Football is a global language and the shootout is the end to Shakespearian tragedy.

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A footballer takes a penalty kick.
England v Columbia: 2018 World Cup shootout.

It is hard to pity entitled, overpaid footballers.  Until, that is, it comes down to penalties after extra time.  Even when you do not care who wins, the drama of the penalty shootout is so intense and all-consuming that every heart rate quickens. 

Is there a more exquisite form of sporting torture? 

Sport is laden with cliché, and the refrain, ‘it’s come down to the lottery of penalties’ is an established part of the lexicon.  But is it just the spin of the roulette?  That you can’t prepare effectively for the cauldron of the stadium?  

Not according to Geir Jordet, it isn’t.  The Norwegian Professor of Psychology and Football is on a mission to convince the world there is lots you can do to get ready and those that don’t are more likely to fail. 

There is skill involved in taking a penalty, an ability that can be honed with practice.  Individual players can be trained to take their time (but not too long), to establish a routine that helps them take control of the situation, to take careful breaths, and to focus.  They can be helped with blocking out the trash talk of opponents, especially goalkeepers, who subtly try to get under their skin in the seconds leading up to a penalty.  Extensive research can be carried out by data-rich backroom staff to help with preparation.  And behind all this is the recognition that taking a penalty is a team effort, not an individual one.   

This latter observation feels especially counter intuitive.  There is nothing more lonely than the appearance of one man or woman taking the long walk from the centre circle to the penalty spot.  But teams can support one another with words of encouragement and touch.  Not just in the grasping of each other’s shoulders in the centre circle, but in reaching out to those who both score and miss.  One reason Geir Jordet advises that the manager should choose penalty takers rather than look for volunteers is that they then can take full responsibility for the outcome.  It is hard to believe there are still times when a manager looks around at players after extra time, hoping to see in the eyes who is up to the task.  These duties should be sorted out in advance, with back-up plans for when players are injured or substituted.

Deciding war between opposing tribes based on an individual contest was quite common in the ancient world – effectively moving to the penalty shootout before the game, to save the effort.

Jordet, in his stimulating book Pressure: Lessons From The Psychology Of The Penalty Shoot Out says that anxiety is normal and should be embraced.  Greater openness round mental wellbeing is allowing the modern professional to admit this.  Erling Haarland, one of the world’s most accomplished goal scorers, has shared the fear he regularly feels round taking a penalty; it is hard to imagine a player from the 1970s saying the same. 

Missing a penalty in the shootout is inevitable; the only way it can conclude.  And statistics show that the world’s greatest players, like Lionel Messi, are not notably better at converting penalties than others.  On average, the best players have around an eighty percent success rate (which, significantly, is one missed penalty out of five in a shootout).  As in other professions, the best results are achieved by creating systems and cultures that can adapt quickly and honestly to errors and learn from them without humiliating those who fail. 

Reading the book cast my mind back to the archetypal shootout between David and Goliath.  Deciding war between opposing tribes based on an individual contest was quite common in the ancient world – effectively moving to the penalty shootout before the game, to save the effort.  Perhaps David should have lost it, and not just because of his size.  Beforehand, he had a serious bust up with his side and those who did not see him as a team player.  Then Goliath trash talked him like Emi Martinez is famed for with Aston Villa and Argentina.  And finally, he ran up to take his shot very quickly, without much reflection.  But then again, Geir Jordet would be the first to point out that preparing badly for a contest does not mean you can’t win it – just that you are less likely to. 

Football is a global language and the penalty shootout is like the cataclysmic end to a Shakespearian tragedy.  English fans are long suffering audiences of this trauma – from Italia 90 to Wembley 2021, via the 1996 Euros when football was coming home until a last minute wrong turning.  But many other nations have under-achieved at penalties, like Holland and Spain and, more recently, France.  Roberto Baggio of Italy missed the decisive penalty in the first World Cup Final to go to penalties in 1994.  He says of it:  

‘I failed that time.  Period.  And it affected me for years.  It was the worst moment of my career.  I still dream about it.’.   

The personal stakes are as high, if not higher, than the nation’s.   

We are left with the feeling that hugely divergent outcomes can emerge from the smallest and most random of causes.  The human tendency is then to rationalise the outcome in ways that make it seem inevitable.  Geir Jordet is aware of this in football, but in other walks of life, we continue to build up wobbly cases on shallow evidence as a way of warding off anxiety or the fear that others will think we are clueless if we admit to the existence of chance.  Most people are right less than eighty percent of the time; something we might hold in mind when the next England players make that solitary walk to the penalty spot.  

Review
Culture
Film & TV
Migration
4 min read

What do Moana and Paddington have in common?

Families, destinies, and the voyage between.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

A cartoon still shows a nightscape at sea with a Polynesian style vessel above, with Moana standing on it sailing above a whale illuminated by bioluminescence
Disney.

Watching Moana 2 in a packed cinema filled with little girls giggling with excitement at every slapstick moment in the film was the highlight of my weekend. It was Saturday afternoon and my foster daughter and I found ourselves surrounded by several birthday parties of local children, many dressed up in leis and straw skirts, and exuding the sun-kissed tropical holiday vibe.  

I wasn’t expecting much from this sequel beyond a welcome reunion of characters from the original film, and I was certainly right not to raise my hopes when it came to the songs – they pale into obscurity in comparison to the excellent soundtrack of the first film. However, Moana 2 definitely put the wind in my sails - as well as made me reconsider getting a tattoo.  

Having just seen Paddington in Peru, released two weeks earlier, I couldn’t help but notice the similarities. Two much-loved characters, two long-awaited sequels, and two films about origin story journeys. While the Peruvian bear crosses one ocean following a letter from his Great Aunt Lucy, Polynesian Moana crosses another following a more supernatural call from her ancestors. Both find themselves in small boats on dangerous waters, wondering if they’ll ever find their long-lost family, and what sort of welcome awaits them. 

The quest to discover family roots seems to resonate widely – but for children in foster care it is especially pertinent. There is a very moving moment in Paddington in Peru where he asks himself where he really belongs – the place where he was born, or the place he has come to see as home?  

The tension in Moana is similar - between the home she’s left behind, and the connection she is trying to find with her ancestors. Her quest for identity and purpose lies at the heart of the movie. As Maui sings: “Who are ya? Who are ya? Who are ya gonna be? Come on-a, Moana – go get your destiny.” 

These travellers aren't seen as strange outsiders or potential threats; instead, they're embraced as long-lost family. Their treacherous journeys are honoured, not criticised. 

Both my father and my father-in-law have spent a lot of time documenting our family histories. On my side of the family, I have historical connections with Sri Lanka, India, Ireland, and Malaysia, and cousins who have recently made their homes in Australia and Cambodia. On my wife’s side of the family, there are direct descendants of the Huguenots, who found sanctuary in England after fleeing religious persecution in France in the sixteenth and seventeenth centuries.  

It is both fascinating and heart-breaking to discover how our lives are part of a history of global people movements, and the struggles that they inevitably bring with them. I grew up hearing stories of my Indian grandmother’s tragic separation from her children after her husband – an English tea plantation owner – was killed in El Alamein in World War Two. I grew up hearing stories of my mother being sent out barefoot to collect water for the orphanage in the Himalayas where she lived. I grew up hearing stories of my father who as a child, 5,000 kilometres away from my mother, was woken at 5am each day to be taken to the temple.  

However difficult it is for me to imagine, their stories are part of my story. And they in turn are part of an even bigger story that offers a wider explanation not only of where we come from but where we are going. Ancestors such as Abraham, Moses, and David call us to reconnect with our family roots – and with God himself.  

Moses puts it like this in a song that was passed down through the generations and recorded in the Psalms:  

Lord, you have been our dwelling place throughout all generations. Before the mountains were born or you brought forth the whole world from everlasting to everlasting you are God. 

For me, the quest to find out who I truly am, where I come from, where I belong, and what my destiny might be, – led me to become a Christian. In searching for identity, meaning, and purpose, I realized that "home" for me meant coming home to God. 

From Abraham's journey to my parents' migration, my family's story has always been one of movement, separation, and finding belonging. Now, in my work with refugees around the world, I feel a deep personal connection not just to my own ancestors' experiences but to all those who share similar stories of displacement and hope. 

That's why I loved the powerful moment in Moana 2 when a fleet of small boats arrive on the shores of a distant land to a rapturous welcome. These travellers aren't seen as strange outsiders or potential threats; instead, they're embraced as long-lost family. Their treacherous journeys are honoured, not criticised or dismissed as we often see in today's responses to migrants.  

Moana is recognized as a master navigator, and, true to Polynesian custom, receives a tattoo to mark her achievement—a symbol of pride, resilience, and belonging.  Her tattoo also possibly indicates that she is being set up as with demi-god powers for the trequel. But we have to wait to see if there will be a Moana 3. In the meantime, I highly recommend the film, especially if you have fostered children in your life, or fancy organising a Polynesian-themed party, or just need a healthy dose of girl-power inspiration. That should cover all of us.  

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