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Sport
4 min read

Why are sportspeople so superstitious?

Routine and rhythm help performance, but sporting superstition begs a question, writes Jonny Reid. Who do we really think is in control?

Jonny Reid leads the communications team at Christians in Sport.

A rugby ball sails towards a player in a striped jersey from the foot of a kicker who has a leg and an arm extended out.
England v. Argentina, RWC 2023.
RFU.

Guinness’ Rugby World Cup advert commands supporters: “Don’t Jinx It!” The advertiser explained:

“All of Ireland will be supporting the team with every fibre, but our campaign urges fans to remember that their actions are as important as the team on the pitch, they need to play their part too, don’t jinx it.” 

Superstitions on the pitch are just as prominent as those off it. England legend Jonny Wilkinson always wore the same t-shirt under his match shirt as a lucky charm, the Welsh side used to ritually vomit before games and for decades club side Bath played without a number 13. 

So why is it that sport is so fill of superstition?  

A longing for control 

We feel like we’re in control until a sudden injury or a major pandemic arrives and we realise that we may be less in control than we’d like. 

Indian sports psychologist Ashis Nandy thinks this may be why cricketers are so superstitious. In a game full of failure, which has a high degree of luck, it is inevitable that players will turn to superstition to help regain a sense of control: 

'No wonder cricketers lean on superstition as a crutch. They cannot accept the awful truth - that the game is governed by erratic umpiring decisions, random tosses and unpredictable seam movement - so they invent a coping strategy to persuade themselves they are in control.'

We want to be in control but we know we’re not.  

Whether it’s a snapped Achilles tendon at a random training session, a contract not renewed at the end of a season or point deductions due to mismanagement by owners - sport is littered with examples which remind us we’re not in charge.  

It’s worth saying that routine is different to superstition. US soccer psychologist Tim Perrin argues that routines are integral for the elite sportsperson. “Performance is about routines—they take us into performance, and superstitions are very much a part of that,” Perrin said. “They are a way we can very habitually, automatically, and unconsciously take ourselves into performance mode.” 

Repetition and routine are a key part of sport. Not only do they improve our skill levels (think of the 10,000 hour theory) but they also help ease the mental pressures faced by athletes. As Perin explains, the emotional demands and strains of sport can be lessened by routines that “allow certain things (to be done) on a mechanistic, repetitive nature” and can thus be “put on autopilot.” 

This is the reason for Jonny Wilkinson’s famous pre-kick routine or the even more extreme Dan Biggar’s version which has become known as the ‘Biggarena.’ His idiosyncratic routine once proved an Internet sensation

When does routine tip into superstition? It’s when it becomes irrational and when a change to that routine leads to distinct mental torment or a level of discomfort.  

Superstition, as we observe it, in the stands or the pub or on the pitch provokes questions for all of us: Is there a way I can be in control? Or am I actually under control from a higher power? 

Who is in control? 

When things don’t happen as we’d like, it’s easy to feel pretty disillusioned. But do our superstitious tendencies point towards something bigger? 

Among Christians there is the belief that we humans are created in the image of God and that he gave us the weighty responsibility to live in the world and also to shape it. While we have responsibility for how we live, we only have penultimate agency. Ultimate power over events lies in hands bigger than ours.  

The trouble is we chafe at our limited role in all this. 

Dan Strange, in his book Making Faith Magnetic says:  

“deep down we know we’re not divine and that we need something greater than us in which to find meaning and legitimacy. So we still invest in other things that can give us a sense of ultimate meaning and purpose.” 

This could be our partner or family. It could quite easily be our sporting career. We load them with an unbearable weight of responsibility, that none of these substitutes for God can handle because they too are penultimate not ultimate. 

In the book of John, Jesus calls himself “the good shepherd” - the one who guides the flock of sheep, whether they are aware of it or not. 

The world is not controlled by luck or energy or even random chance, it is in the hands of a loving God, a loving shepherd who leads his sometimes reluctant flock to where they need to go. 

In the stories of Jesus we see someone who exercises an extraordinary control over the world - over nature (walking on water), over disease (healing blind people) and over evil powers (exorcising the .disturbed) He shows us a world which isn’t just defined by fate or by an angry impersonal Deity but one in which there is a sense that we are both in control and under control.  

Far from living in a world of randomness and luck, maybe after all we live in a world where a good God works through the details of our lives and is with us in the ups and the downs, in the injury, de-selection, contract confusion, dip in form and in the cup wins, record breaking, peak-performing moments of our sporting careers.  

Routine and rhythm can help sporting performance but superstition ultimately leads us to ask a question. Who do we really think is in control? 

Review
Culture
Film & TV
Monsters
Sport
5 min read

Horror turns pro: when greatness demands blood

The pursuit of sporting glory turns into a fever-dream of sacrifice, madness, and mythic violence
A player holding a finger to his lips stands in front of an indoor American football pitch.
Marlon Wayans.
Universal Pictures.

October is here…spooky season. Naturally, I’ve decided to pivot exclusively to the horror genre, beginning with HIM

The promotion for the film has placed Jordan Peele (who stormed onto the scene with Get Out) front and centre, so much so that one might be forgiven for assuming that he is the writer/director. He isn’t. His Monkeypaw Productions have produced the picture, and so one can assume he has had some creative input, but the film is helmed by Justin Tipping. This is Tipping’s second feature film. He co-wrote it and directed it. Sophomore, but no slump here. The film is superb! 

All horror fiction explores contemporary themes in the mode of the ‘unnerving’, and often by adopting and then playing with the conventions of another genre. In the case of HIM it is ‘sport’ that takes a horrifying turn. We begin by meeting our protagonist, Cameron ‘Cam’ Cade, as a young boy. He is watching his favourite American football star, Isaiah White, take lead the ‘San Antonio Saviours’ to victory. In the process Isaiah is injured. Cam looks away. His father forces him to look at the television screen and take in the violent scenes, while giving a speech about the necessity of ‘sacrifice’. 

A decade or so later the father has died, and Cam is a rising star in the sport, tipped to be the next ‘GOAT’ (Greatest Of All Time), the most worthy successor to Isaiah White’s legacy. While practicing late one night he is violently assaulted by a figure in a goat costume. The resulting head injury puts his prospects into question. It is doubtful that he can even play football going forward. He and his family are devastated.  

‘Salvation’ seems to come when his agent calls him with an offer that seems too good to be true. The ‘Saviours’ are seeking to sign him as their quarterback, replacing Isaiah. All he must do to earn this great opportunity is to spend a week with Isaiah at his specialised training compound, to demonstrate his potential and win Isaiah’s blessing. He accepts, and travels to the remote compound. As his car pulls up, he encounters a number of Isaiah’s demented ‘fans’ (who operate more akin to the Manson Family) decrying him in violent screams. He brushes this off and enters to meet Isaiah. He finds him engaged in an odd form of taxidermy with the skulls and skins of goats. The two embrace and share warm words of respect and welcome. The training begins.  

What follows is a rapid descent into bloody madness. 

I won’t say much more for set-up; only that the following week quickly becomes less a training camp, and more a psychedelic fever-dream of physical and psychological torture. The film is gruelling to watch in the best way. Tipping directs this masterfully, disorientating the viewer with sudden jumps from wide shots to close-ups to X-ray inflected visions of the appalling damage endured by athletes seeking to achieve their best. The cinematography of Kira Kelly keeps this relentless confusion running throughout the entire film, playing with angles and stillness and sudden swoops. 

These visuals are supplemented by some terrific performances. From the exceptionally creepy ‘fans’, led by Naomi Grossman, to Jim Jeffries reigning his comedic persona in to play Isaiah’s jaded and sardonic personal doctor (who is constantly drawing Isaiah’s blood…uh oh!), to Tim Heidecker’s unctuous agent always grasping for more. The standouts, however, are Tyriq Withers as Cam and Marlon Wayans as Isaiah. Wayans, of the ‘comedy’ dynasty, is best known for dreadful ‘funny’ (not ‘dreadfully funny’) films, including the Scary Movie franchise. Every now and then he has demonstrated his serious acting chops, shining in Requiem for a Dream, but this performance ought to cement his reputation as a genuine talent.  

He is mesmerising as Isaiah, switching in an instant from quiet melancholy, when reflecting on this past glory and the nature of sporting sacrifice, to outright unhinged menace – screaming directly in Cam’s face when trying to motivate him to go further and further. He dominates every scene he is in and is the lynchpin of the film’s mood, his performance (effortlessly walking the tightrope above measured and manic) driving the bewilderment the film seeks to force upon its audience. He is aided by Withers’ straight-man, who masterfully maintains a quiet yearning in the face of bafflement. He is muted and introverted without ever disappearing into the background, and so is instrumental in supporting Wayans as he gives the performance of his career. 

In spite of all of this brilliance, I have one small critique. The film’s theme is…messy. It is also far less subtle than it thinks it is. Its focus on the pain and suffering of sporting excellence – which is displayed in the literal brutality of injury – and the idea of selling one’s body, health, and even soul for glory, is often undermined by supernatural and theological symbolism which interrupts the dramatic thematic force. The use of the goat, both as a verbal and visual symbol, is overdone, and is rather obvious to anyone who knows even a little of biblical or esoteric literature.  

Added to this, the constant reference to sacrifice, and to behaviour resembling the cultic, continues the on-the-nose hammering; cemented at the end when an actual pentagram is emblazoned on a football field. This is a shame, as the final scene is a well-earned, wonderfully slapstick celebration of horror-movie gore and splatter, undermined by the symbolic silliness. None of this is enough to ruin the film – I still think it is superb – but I would have preferred Tipping to make a choice: subtle realism, or all-out commitment to the supernaturally sinister. In trying to have-its-cake-and-eat-it the film compromises the bake…a slight soggy bottom of a denouement. 

The film just fails to be the GOAT of this year’s horror fare. Still, a jolly entertaining cinematic experience which I highly recommend for October viewing. 

4.5 stars. 

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