Review
Books
Culture
Football
Identity
Music
Sport
Taylor Swift
4 min read

What makes fans tick?

Fandom’s remarkable fusing.

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

Scottish football fans wearing kilts march down a street singing and waving their arms alogt.
Scotland's Tartan Army of football fans.

"A fat, sarcastic Star Trek fan: you must be a devil with the ladies." 

This put down of Comic Book Guy in The Simpsons neatly sums up a prevailing attitude to fans.  To be a committed fan is to devote yourself to a niche pastime; to be weird and nerdy and, simply, not cool.  At its worst, the fan becomes a fanatic, from which the noun is derived; an obsessive who stalks the object of their passion online and, at its most dangerous, offline. 

Times are changing, though, and the internet is chiefly responsible.  Where once fans could feel isolated and able only to relate to fellow afficionados slowly via the postal system, now they can find people who share their love in a handful of clicks and build relationships in real time.  A lot of anguish is spent on how the internet allows people to find extremist chat rooms where abhorrent behaviour is normalised; less attention is given to the wonder of being able to find fellow lovers online of Massey Ferguson tractors, Australian mullets or Rubik’s Cubes.  Many fans feel less alone online, building a new sense of belonging and purpose – a realisation that others will take them seriously. 

Yet experienced from the inside, a remarkable bonding is taking place, where fans not only fuse with others, but with the team itself.   

In Fans: A Journey into the Psychology of Belonging (Picador, 2024), the academic Michael Bond gives a perceptive and generous insight into the world of fandom.  There are Beliebers, Directioners, Trekkers, Swifties, Janeites, Ricardians.  For the uninitiated, that’s lovers of Justin Bieber, One Direction, Star Trek, Taylor Swift, Jane Austen, Richard the Third; though strangely one of the biggest bases of all simply goes by the title Star Wars fans.  Bond spends some time looking at the phenomenon of Michael Jackson.  Professor Gayle Stever has researched the pop star’s fans and found them, like many other fans, to be ‘normal people carrying on normal lives with functioning relationships and jobs, who just had this passion for Michael Jackson’.  Despite the discomfort of idolising a celebrity who lived, and died, with serious child abuse allegations made against him, they saw Jackson as ‘the target of racist abuse and unwarranted criticism throughout his career’. 

Fans often identify very personally with their idols.  Cosplaying conventions allow fans to reinvent themselves and Houston University studies have shown that people can ‘feel less lonely and less anxious in the face of rejection simply by thinking of a favourite TV show’. 

But what of football fans?  Many find the aggressive tribalism involved hard to accept.  I have observed young male fans of London Premier League teams chanting loudly at train stations in a way that made young women nearby shrink away, making me wonder whether my opening line from The Simpsons ought to be re-purposed.  The ritualised conduct of football crowds – the fist pumping, jumping and embracing at a goal, the verbal and hand abuse of opposing players and referees, and the chants that defy pre-match announcements about tolerance at games – can look bizarre and scary.  Yet experienced from the inside, a remarkable bonding is taking place, where fans not only fuse with others, but with the team itself.   

‘... the best of sport is not the earthy moment of victory, but the privilege of watching athletes tilt at divinity.’ 

Emma John

The deeper the love for a club, the greater the joy and the pain at success and failure.  It is a high-risk investment that many stake because it makes them feel so alive.  The peerless interpreter of football fandom, Nick Hornby, says that football is a context where watching becomes doing’.  Anyone whose leg has involuntarily jerked as a player reaches for the ball will grasp that. 

I wonder if some football fans who identify as Christian struggle with the secret reality of uncontrollable mood swings every weekend?  Should a win on a football pitch matter that much, when so many things are so much more important?  They may aspire to the whimsy of Ecclesiastes (there is a time to win and a time to lose, the author nearly said) but feel the coursing testosterone of Samson instead. 

God made us playful, and football is a disarmingly simple game to watch and play.  There is also breathtaking beauty in the movements of its finest exponents, like the choreography of Michael Jackson himself.  If we are called to life in all its fulness, isn’t this also a part of that fulness (even if some games are a stretch)?  

In recent interviews, Nick Hornby has said he couldn’t write Fever Pitch again, his pained love letter to Arsenal FC; middle age has brought a new perspective.  Writing in Prospect magazine (May 2024), sports journalist Emma John says: ‘I have observed many of my sports-loving friends follow the same trajectory…the best of sport is not the earthy moment of victory, but the privilege of watching athletes tilt at divinity’. 

At least, until the final penalty shoot-out, when for the diehard fan it’s absolutely all about the earthly moment of victory.

Review
Culture
Film & TV
Fun & play
Justice
5 min read

Boom! I love this new Superman!

Eschewing ennui, it’s a great fairy tale for the modern age
Superman talks to his dog amid the ice.
Superman and Krypto the dog.
Warner Bros.

…and that’s what makes this film so enjoyable! 

Oh, apologies for any confusion.  

No tortuously ‘relevant’ preamble from me today. I’m starting the review right in the middle of the action, because that is exactly what Superman does. No initial slog through a ‘backstory’ that everyone knows – even my wife, who has never read a comic book in her life, is familiar with who and what Superman is. The closest we get to contextualisation is a quick sequence of text: informing us that Superman landed 30 years ago (adopted by the Kent couple, and given the name Clark), began his superhero career three years ago, stopped the fictional nation of Boravia invading the equally fictional Jarhanpur three weeks ago, and three minutes ago lost a battle for the first time. 

Boom! 

Then straight into the action! 

Superman lands in the frozen tundra of the Antarctic and can barely breathe. He lets out a whistle and the next thing we know there is a tremendous snowy disturbance. Krypto the Superdog dashes into view! No explanation – just delight in the fact that there is a mischievous canine with unbelievable power. Krypto drags Superman ‘home’ to the Fortress of Solitude. There the Superman robots heal him with a concentrated dose of radiation from the Yellow Sun which gives him his power. He immediately departs to continue his bout against the nationalist supervillain ‘Hammer of Boravia’, who is secretly being controlled by the evil genius and billionaire Lex Luthor. 

The pace of this film isn’t fast…its hypersonic. It flies by at the speed of Superman himself. There isn’t any lag, any let up. Even the quieter moments, such as those meditating on Superman’s dual identities (the alien superhero Kal El/Superman and the human reporter Clark) or his burgeoning relationship with investigative journalist Lois Lane, keep the story moving. Exposition doesn’t take place through inexplicable monologues; it is always pacy conversation, which teaches us something about the characters and their relationships and their motivations. 

This is the great triumph of writer/director/producer James Gunn. After his success over at Marvel Studios, he has taken the helm of DC and started to create a universe of characters and stories that doesn’t waste time with painful ‘exploration’ and moralising. This was always the issue that held DC films (arguably featuring the more beloved and well-known characters in comic-book culture) back from matching the success of Marvel. Christopher Nolan is a genius, giving us a superb Batman trilogy, and Zac Snyder produced an underrated dark take on Superman, but neither seemed to delight in the bright, bubble-gum, kaleidoscopic colourfulness of the comic-book medium. 

Gunn refuses to make his Superman film gritty or realistic. Characters appear in all their flash and bombast and are welcomed as cheery additions. The ‘Justice Gang’ are simply there – including the always enjoyable Nathan Fillion with an arrogant smirk and an almost offensive bowl cut. Luthor’s genius allows his to create a parallel dimension…why couldn’t he!? If we can suspend our disbelief to accept a protagonist who is an alien superhero, why not a mini-universe?  

There is none of the former focus on psychological trauma and existential crisis and the sheer overwhelming ennui of being. In previous films the ethical lesson wasn’t just ‘on the nose’…it flattened your nose with a Mike Tysonesque haymaker! Here, Superman simply IS. He IS good. He IS upstanding. He IS fighting for truth and justice. He refuses to allow political and public-relations considerations to corrupt and dilute his absolute commitment to do (and to BE) what is right. One of the most dramatic scenes isn’t a grand battle, it is a quiet moment where Clark allows Lois to interview him as Superman. The more she questions the realpolitik implications of stopping an invasion, the more Clark becomes incensed. How could someone not allow themselves to save innocent life and serve justice to the oppressed against the oppressor? 

The film is such a ‘sigh of relief’ in a bloated comic-book-film market. Yes, the script is hilarious – this is Gunn’s forte. Yes, the music is sublime – both John Murphy and David Fleming’s score (with wonderful nods to the John Williams original) and Mr Gunn’s own needle-drops. The performances are excellent across the board – special mention to David Corenswet, who doesn’t quite look like Superman to me…but boy does he embody the very essence of the character, to the point where you can’t imagine anyone else having played the alien since Christopher Reeve. But its truest strength and victory is its joy in the simplicity (especially moral) of this comic-book genre. 

This is what is so refreshing about Gunn’s vision. Superman IS pure. Lex Luthor (Nicholas Hoult not missing a baldy beat) IS so prideful and vain that it has warped him into something twisted and evil and collapsing in upon his own ego. Watching the film, I was put in mind of C. S. Lewis’ writing on the nature of fairy tales: 

“For in the fairy tales, side by side with the terrible figures, we find the immemorial comforters and protectors, the radiant ones…” 

Comic-books are the great fairy tales of the modern age…why would we make them brooding deconstructions of the human condition, a la Cormac McCarthy? That isn’t their point or purpose. Lewis again: 

“Since it is so likely that they [children] will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.” 

Gunn has given us a film that isn’t just fun and fluffy, but important. In his sugary, childlike wonder and delight in the genre, he has given us a tale of good versus evil that is a true fairy tale: something gleaming and good, something radiant and right, something attractive and aspirational. Superman is a fairy tale where we can be comforted and emboldened by the moral (nay, ontological!) certainties of love and hope.  

5 stars

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