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Football
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6 min read

Why England lost the Final

Emerson Csorba explores why love is a game-changer when it comes to winning.

Emerson Csorba works in deep tech, following experience in geopolitics and energy.

Gareth Southgate congratulating the team

So, England reached another final which ended in crushing disappointment. Despite their ability to grind out wins deep into Euros and World Cup tournaments due to the savvy approach of now ex-coach Gareth Southgate, the team risks a similar fate as it looks toward the World Cup.

Gareth Southgate resigned as England manager having lost two successive Euro finals. And maybe there’s a reason. His style is habitually defensive, cautious and careful. There is a sense in watching England that they fear failure under the weight of expectation, the fear leading to a strange restraint. There was a caution in their play, the potential of their extraordinary players limited rather than unlocked. When they equalized in the final, they inexplicably failed to capitalize, sitting back and letting Spain come at them again, leading to Oyarzabal’s winning goal.

It is not surprising that England were overtaken in the final minutes of the Euros by an opponent that went for it. Spain played with more intent, winning the tournament with fewer stars than England, but with heart embodied in captain and player of the tournament Rodri.

Compare, however a lesser-known football nation in a less well-reported competition over these past weeks.

Little was expected of Canada’s Men’s National Team upon entering their first “Copa America” football tournament in late June. However, led by former Leeds United coach Jesse Marsch, Canada made the semifinals – a remarkable run that had much of the ice hockey-loving nation turning their television sets to football.

It took the eventual champions and world number-one Argentina and its star Lionel Messi to knock out the Canadians in a closely fought game. Argentina coach Lionel Scaloni called the Canadians “a very good team that’s made it hard for everyone.”

When all was said and done, Canada advanced further into the tournament than Mexico, the United States, Chile and even titans Brazil.

What was behind Canada’s recent Copa success? And what can be learnt from coach Jesse Marsch – and other similar coaches – in unlocking the potential of their teams?

The answer, modelled by Marsch but seen in other select coaches’ approaches, is found in a quality not often mentioned in the world of sport: it is nothing less than Love, and the courage it produces.

A quality which is not often mentioned in the world of sport: Love, and the courage it produces.

Certain coaches’ evident love for their team allows players to tap into new reserves of energy, taking risks despite fear of failure. These teams play with courage, striving to win, rather than sitting back. They leave everything on the field. This love keeps teams on the offensive, their opponents on the defensive. Such courage is important in modern football, which values a high-energy, attacking style.

Modern sport rewards teams who display speed, directness and versatility. Just as the smartphone has sped up the pace of modern communication and life, rewarding those capable of communicating with large audiences instantaneously, football and other sports reward those with quickness and directness in their style of play.

For instance, in American football, the “quarterback” position of previous decades needed only throw the football effectively. These days, the best quarterbacks must throw and run. Speed, directness and versatility are demanded of the modern quarterback, mirroring the overall speeding-up of society and their ability to reach people instantaneously in an increasingly interconnected world.

Canada, adapting to these changes, brought speed to every match. Marsch’s enthusiasm on the sideline was clear throughout the tournament. Canada provided opponents with little room to breathe, keeping on the front foot from the opening kick to the final whistle. The team was rewarded accordingly, despite their inexperience and lack of stature. The same was true of the dynamic Georgia team in the Euros, who humbled the mighty Portugal 2-0 in the group stages.

Marsh recognised Canada’s potential when others didn’t. Following a quarterfinal win over Venezuela, arguably the most dominant team in the tournament up to that point, with the stadium packing 48,000 Venezuelans compared to Canada’s 1,000 fans, Marsch highlighted his players’ untapped ability. He did this throughout the tournament, and his players fed on this awareness of their potential.

Marsch’s own story is one of challenge. He was fired in 2023 by Leeds United and then rejected by the United States Men’s National Team. Despite his track record and promise, he was overlooked in favour of lesser candidates. These rejections provided Marsch with a deepened belief in his own ability and unique style. This inner strength in turn provided his players with courage in hostile matches throughout Copa America.

Reflecting on the Copa America success, Marsch said: “I want to get back to loving the game that I love, and this team has helped me find that, and I’m very thankful for that.” This love helped the Canadians play with courage, tapping into energy levels to underpin this courage.

Few coaches achieve this – but the results are evident for those who do.

In the English Premier League, Jurgen Klopp, Mikel Arteta and Pep Guardiola are often criticised for their exuberance on the field, but each coach clearly loves their team. This translates to teams that do not easily give up, responding quickly to setbacks.

St Paul famously wrote: “Love always hopes, always perseveres.” When they are bound together by a sense of love, it enables a person, or a team to push forward, never giving up hope, always pressing for the win.

Jurgen Klopp loved the city of Liverpool and demonstrated this through his unforgettable hugs of his players and on-field energy. His players fed off this love and routinely went for it. Liverpool launched long ball after long ball, with fullback Trent Alexander-Arnold one of the best long passers in the Premier League, game in and game out, winning the Premier League for the first time in decades and even reaching the pinnacle of the Champions League.

Mikel Arteta inherited and rebuilt an Arsenal that had fallen from previous heights. One moment stands out in this rebuilding process. Following a shock loss to Everton at the midway point in the 2022-2023 season, Arteta told the press that he loved his team “even more” than he did previously. Arsenal were unable to unseat Manchester City that year, losing energy in the final weeks of the season. But they took their game to a new level in the following campaign, pushing City to the final day.

Pep Guardiola is the exuberant and intense coach of Manchester City. But look at his captain Rodri, who recently led Spain to Euros glory. Following Spain’s victory, Rodri commented “In sport, as in life, when you leave it all there, you are rewarded.”

Rodri made a similar comment following Man City’s fourth consecutive EPL title, stating that he knew Man City would win the EPL title following Arsenal’s 0-0 draw with City at City’s home stadium the Emirates.

The reason? Arsenal came to achieve a draw – not a victory. They did not demonstrate the heart needed to win the game decisively. They were lacking in love in that match, playing instead not to lose. The difference between these approaches, one focused on winning and the other on not losing, was fear – even if subtle.

The Jewish sage Hillel is well known for saying “If I’m not for me, who will be for me? And if not now, when?” The coaches described above, each demonstrating love, instill in their teams the ability to take risks, playing boldly. This is Hillel’s “if not now, when?”

St Paul famously wrote: “Love always hopes, always perseveres.” When they are bound together by a sense of love, it enables a person, or a team to push forward, never giving up hope, always pressing for the win.

Love is the vital quality providing players with the courage, to play on the front foot with a view to winning decisively. It is conducive to success in modern football valuing speed. Led by the coach, and spreading through players, it is the difference-maker as the margins between failure and success continue to narrow.

Review
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4 min read

The utter humanity of Wallace and Gromit

Choices in front of and behind the camera tame technology.
A still from a claymantion film shows three characters, Wallace, Gromit and a robot garden gnome marching out a garden shed.
AI: here to help.
Aardman Animations.

In 1993, Aardman Animations released Wallace & Gromit: The Wrong Trousers. It follows hapless inventor Wallace and his long-suffering dog Gromit as they rent out their spare room to a penguin, Feathers McGraw, who is subsequently revealed to be a master criminal, narrowly pipping Anthony Hopkins’ Hannibal Lecter and Javier Bardem’s Anton Chigurh to the title of cinema’s most sinister villain. (Trust me: you will never look at a red rubber glove the same way after The Wrong Trousers). 

At the film’s climax, perpetual good-boy Gromit chases McGraw through the house via a series of increasingly convoluted model railway tracks, even as he has to build the very tracks he’s riding on. There is a strong argument to be made that it is best scene in cinematic history.  

Fast forward to Christmas, 2024, and Wallace and Gromit: Vengeance Most Fowl is shown on BBC One on Christmas Day. It tells the story of Feathers McGraw – who has lost none of his quiet menace – plotting revenge on the eponymous duo, this time by taking over a series of technologically advanced garden gnomes Wallace has invented.  

While nothing in Vengeance Most Fowl tops the train chase from The Wrong Trousers – indeed, how can one improve on perfection? – it is another magnificent addition to the Wallace and Gromit oeuvre.  

Moreover, it is a remarkably prescient tale about the dangers of technology, and the beauty of humanity. It is the perfect antidote to much of modern cinema and almost single-handedly restored by faith in film as an artistic medium. Vengeance Most Fowl is such a success because it oozes humanity in every single frame. However, this humanity appears most clearly in three distinct ways.  

First, in its story. The inciting MacGuffin of Vengeance Most Fowl is the new garden gnomes Wallace has concocted. Feathers McGraw takes control of Wallace’s gnomes by hacking into its software and switching it from ‘good’ mode to 'evil’ mode. (Like everything in life, this is a joke The Simpsons got to first: in 1992’s “Treehouse of Horror III,” Homer accidently buys Bart a Krusty the Clown doll accidently set to ‘evil’ mode rather than ‘good’ mode.) 

Vengeance Most Fowl offers a more nuanced take on technology than most. It’s neither straightforwardly good nor straightforwardly bad; it depends entirely on the user. We see the benefits of the gnomes as they help people with their gardening. But put them in the hands of the wrong person – or penguin – and they become tools for evil. Vengeance Most Fowl is not an anti-technology film, then, but is realistic about the fact that some humans – and, indeed, penguins – will inevitably seek to use technology for nefarious ends. 

Second, in its voice acting. Vengeance Most Fowl is the first Wallace & Gromit film released following the death of long-standing Wallace voice actor Peter Sallis. It is genuinely remarkable, then, that no AI was used by Aardman to replicate his voice. Instead, this is left to Ben Whitehead and the results are certainly worth it. 

Where many film studios or production companies would have used technology to offer a ‘fake’ Sallis performance – think Peter Cushing in Rogue One: A Star Wars Story, for example, or even the use of AI to reconstruct John Lennon’s voice for the lost Beatles single “Now and Then” – Aardman did not. Instead, they made a very conscious decision to have Whitehead offer a deeply human performance as Wallace. When (SPOILER ALERT) at the end of the film Wallace tells Gromit that he can live without inventing, but he can’t live without his dog, the emotional pay-off is so genuine because it is real. Because it is a thoroughly human moment. 

Third, in its cinematography. Claymation is a medium only adopted by artists who hate themselves. That’s the only reason I can think for making an entire film using such a slow, tedious process. It is also a deeply human art form. It is the result of tens of thousands of hours of painstaking and repetitive work. It is yet another conscious choice by the team at Aardman to create something that is thoroughly and unmistakably human. 

All of this, I think, says something about how Wallace & Gromit manages to feel like such a breath of fresh air. It has not been committee-d to death, or market research-ed into beige-ness. It is full of stupid little jokes (like Gromit reading Virginia Woof) and localised references (“Yorkshire Border: Keep Out!” followed by “Lancashire Border: No, Your Keep Out!”).  

The cost of making Wallace & Gromit films is too costly for them to be cheap, mass-produced disappointments churned out at an increasing rate of knots. They are lovingly hand-crafted works of art and, given the current state of much cinema and TV, they are nothing short of minor miracles.  

Wallace & Gromit is an utterly human series of films. It isn’t perfect. And that’s what makes it perfect. 

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