Can Bazball teach us something about freedom?

In the wake of England's remarkable victory over India in Hyderabad, Cameron Wiltshire-Plant explores the unlikely links between Bazball and the spiritual life.

Cameron Wiltshire-Plant

Cameron is training to be a vicar in the city of Leicester.

A gaggle of cricket players, dressed in whites, stand on the field. One raises there arm

The England team.

Back in May 2022, the way England played cricket got a new nickname - bazball. Coined by a journalist, it reflected the name and attitude of the pair who lead the team - .Brendon 'Baz' McCullum and captain Ben Stokes. Both had reputations as attacking players. That nickname has proven to be extremely prescient.

The name has accompanied England in the eighteen months since, describing their transformation from a side languishing with a record of one win in seventeen, to perhaps the most feared side in the world because of their aggressive style of play, winning twelve of their first thirteen tests with Stokes in full-time charge. This England team are currently testing their newfound confidence on an away trip to India where no side has won for eleven years, travelling with more optimism than at any point in the last decade, having whitewashed Pakistan last winter 3-0.

Bazball, at its core, is about freedom to fail. Stokes and McCullum realised that fear of failure was suppressing performances, so they took the burden from the players.

What is ‘Bazball’? It’s even made it into the dictionary, with its definition being ‘a style of test cricket in which the batting side attempts to gain the initiative by playing in a highly aggressive manner.’ This doesn’t go far enough.

The approach is not merely about batting but aggression in bowling, fielding, and team selection, encompassing almost a way of life. Recently retired fast bowler Stuart Broad summarising it as choosing ‘running towards the danger.’ Perhaps cricket journalist Ali Martin sums it up best; ‘to soak up pressure when required but also be brave enough to put it back on opponents at the earliest opportunity; to make taking wickets the sole aim in the field; and to strive chiefly for victory across the five days without considering the draw.’

All of this seems a little bit corporate-speak. Bazball has been accused of this fragility often; that it consists merely of good vibes and brash talk, and that the steam will soon run out of this new approach once some better teams are faced. But dig a little deeper and one principle stands out above the rest: freedom. Cricket can be a suffocating sport to play, even on a village green on a Saturday- a team sport, but one in which the bowler and batsman compete alone in a gladiatorial contest repeatedly. Scale this up to test level, with bowlers throwing them down at 90mph, thousands of spectators, the pressure of performing for your country, and the fight to keep your place in the team, and you can soon see how the pressure can become a burden.

Bazball, at its core, is about freedom to fail. Stokes and McCullum realised that fear of failure was suppressing performances, so they took the burden from the players- the talk of aggression, of running to danger, of attacking, is the permission to fail. By being prepared to lose, if the loss is a result of a determination to win, the fear of defeat is removed. Of course, without the intense pressure of defeat looming over them, players revel in this freedom and performances and results have dramatically improved. Almost all the batsmen have improved their average runs per innings and the bowlers have taken every wicket available except in one instance. Stokes has explained the freedom given in this way to the media:

‘[Bazball] has taken away all the external pressures of playing international sport. There's enough on individuals and as a team as it is but taking all the other stuff away is why everything is so relaxed, calm and enjoyable at the moment.’

Despite Bazball’s wider impact, with England football, rugby, and hockey all admitting to being inspired, does Bazball have anything to say to us outside of elite sport? It could be perceived as simply a method of getting performances out of cossetted professionals weighed down by expectation through a bit of team building and positive messaging. Instead of practicing cricket Stokes’ team practice golf. Players can now set their own bedtimes. How does this relate? However, it’s the stories of McCullum and Stokes that give bedrock to the ethereality of the Bazball concept.

Perhaps this is all Bazball is: cricket-with-context. It’s easy to give freedom from fear of failure when you’ve come close to losing everything.

In November 2014, promising Australian cricketer Phillip Hughes was killed by a bouncer in an Australian domestic game, shocking the cricketing world. Brendon McCullum at the time captained New Zealand’s test team, and Hughes’ death awoke something in him; a realisation that cricket didn’t matter all that much, and was best enjoyed as entertainment, both for the players and spectators. Already an aggressive player and captain, McCullum went into overdrive, playing aggressive but joyful cricket all over the world, freed from consequences and simply enjoying playing. His New Zealand team reached the World Cup final the following year and McCullum signed off with the fastest Test hundred of all time- 54 balls(!)- in his final test.

Stokes himself has walked in his own darkness; arrested in 2017 just as his performances were rocketing for England for violently defending a gay couple on a night out after a win in Bristol, he lost the vice-captaincy and a place on an away Ashes tour despite eventually being acquitted. In 2021, after sustaining an injury to his finger that would not heal, and amidst the death of his father, he wrestled with panic attacks and anxiety, ultimately taking a six-month break from the sport completely. It’s easy to see because of these stories why losing a game of cricket has come to matter less than enjoyment of the sport and playing in an entertaining and relaxed style. Perhaps this is all Bazball is: cricket-with-context. It’s easy to give freedom from fear of failure when you’ve come close to losing everything.

This is something Christians have known for centuries. The knowledge that your darkest sins and most crass mistakes aren’t fatal, but can be forgiven and wiped clean can give a freedom that transforms life. Rather than the anxious striving for perfection that can come in both religious and in secular forms, there is freedom to fail. After all, performance anxiety is a problem for social media influencers, hedge fund traders and teachers as well as cricketers.

Of course forgiveness can be abused as a kind of license to do what you want, knowing you'll get pardoned in the end anyway. But that only reveals a heart that acts out of self-interest, not love. Just as Bazball arises out of a sheer love for the game, as even more important than winning, so Christian behaviour arises, not from a desire to get away with as much as you can can, but out of love for God and your neighbour. And paradoxically - both approaches end up 'winning' more often than not - either successful cricket, or a healthy spiritual and moral life.

This is the graced existence: knowing that we are all free to fail because of the love of God who forgives. In an infinitely truer way than that Bazball is context-making for cricket, so this grace is context-making for life; held by this God in friendship, despite our petty sins and moral confusion. Just as Bazball allows cricketers to play with freedom, ignoring the pressure of expectation and simply enjoying the game, so humans can live with freedom, winning the battle against the limitations and pressure we put on ourselves, and simply enjoy being alive.

After all, if we offend, make awkward, or receive rejection, grace holds us. And if these things go well, our lives will be much richer.

The freedom to fail has released these cricketers to play the most exciting, aggressive, entertaining cricket they can. They have used their self-made context for good. How can we use our God-given context for good? In the same way: remembering that we are held by grace and able to live without fear, able to conquer our own pressures and expectations, the narratives of self-criticism that restrain us in our same old ways. If our actions had no consequences, what risks might we take? Perhaps we would tend towards the destructive like the scenes played out in The Purge. Or perhaps, held by grace, we could tend towards the constructive. Breaking the habits we know have held us back. Conversing with people outside of our comfort zone, seeking out their stories. Phoning the friend or family member with whom our relationship has broken down. After all, if we offend, make awkward, or receive rejection, grace holds us. And if these things go well, our lives will be much richer.

Sometimes Bazball is revered as a novel method to relieve pressure and extract performances from tense athletes, but the Christian faith demonstrates this is nothing new. Bazball might have revolutionised Test cricket, but Stokes and McCullum have simply rediscovered the freedom that comes from God’s gift of grace.

Article

Culture

Film & TV

21 February 2025

5 min read

A tale of two Romes

The Gladiator sequel’s dream of equality is baloney but telling.

Matt Lewis

Matt is a songwriter and musician, currently completing an MA in theology at Trinity College, Bristol.

Chariots thunder into a Roman amphitheatre.

Scott Free Productions.

I left the theatre quite disappointed by what I had witnessed. The original Gladiator, the Ridley Scott masterpiece, remains one of the most captivating historical epics in cinema. Every time I watch it, I feel I am stepping into another time. The sequel, by contrast, baffled me by how out of time it was, jarring me out of the action by its historical inaccuracies.

Whether it was the sharks in the Coliseum or newspapers a thousand years or so before their invention, these moments reminded me I was not witnessing an entirely truthful representation of Roman society. Perhaps I am asking too much - a movie is after all, a representation, and may tell us more about ourselves than the era it portrays.

But Gladiator II’s biggest anachronism isn’t newspapers or sharks, but the presence of Christian values in a pre-Christianised Rome.

The backdrop for the film is that the evil and insane twin Emperors Geta and Caracalla, have spread chaos across the world, relentlessly conquering foreign lands, imposing their will on others - in other words, doing what Romans usually do.

Against the emperors are a group of Romans who are tired with all this conquering and violence and want to build a new Rome. Throughout the film, they remind the audience constantly of Marcus Aurelius, the historic Roman emperor from the first film, who had a dream - ‘the dream that was Rome’. Rome would be a republic. But not just any republic.

Lucius, the hero of the sequel, in his final speech to the Roman army, sets forth what this dream could look like: ‘A city for the many, and refuge to those in need.’ The entire legion lay down their arms and cheer triumphantly for the dawn of this new Rome.

All of this is starting to sound rather close to home. Perhaps Lucius should march to the US border next.

We can imagine offscreen, Lucius walks into the Roman equivalent of the World Humanist Congress, to write a charter to declare the worth and dignity of every individual, and their right to freedom.

Anyone watching who didn’t know their history might be forgiven for assuming that this would mean an end to all the conquering, and the beginning of a just and equal society for all, regardless of gender, social status and nationality.

Unfortunately, this was not the dream of the Roman republic, even before ‘tyrannical’ emperors started ruling. Many of Rome’s biggest conquests happened during the era of the Republic. Likewise, democracy in Rome did not extend to all people. Slavery was rife. The dream that was Rome, was to have a group of men subjugate the world, rather than just one or two.

To be fair to Ridley Scott, his Rome has a little bit more nuance than I give him credit. Denzel Washington’s character Macrinus, the gladiator master, stands as a reminder of the hypocrisy of Marcus Aurelius’ ‘dream’. Macrinus was made a slave under Aurelius’ rule, bearing the brand of Aurelius’ visage on his chest, a reminder that he was Roman property.

The only real equality Rome has – Macrinus points out – is that a slave can violently overthrow an emperor. If equality is going to happen in Rome, it won’t be through reasonable persuasion, but violent revolution. And even then, equality won’t have the final say, but rather the oppressed simply becomes the next oppressor. This is the true spirit of Rome: the survival of the strongest.

Gladiator II reminds us that the values we find self-evident today, that Ridley puts into the mouth of Lucius and the other protagonists, were not self-evident to Rome. The dream that was Rome is a dream that we have. But how did we come to have this dream?

We have been shaped by this history in more ways than we know.

There was another revolution, that Gladiator II does not portray (at least not explicitly). This revolution explains why we look back on history wanting to see ideals of equality and justice. The German philosopher Frederick Nietzsche, atheist and nihilist, writes about it in his work The Genealogy of Morality.

Nietzsche describes a war that happened between Judea and Rome. Rome was undoubtedly defeated, Nietzsche claims. Now, before we might accuse Nietzsche of further anachronism (the siege of Jerusalem and the destruction of the Jewish Temple in AD70 come to mind), Nietzsche is in fact speaking of a revolution in values.

He saw that the Roman ideal of ‘the prerogative of the few’: a small group of strong men imposing their will and subjugating others as the master race, was overthrown by the ‘prerogative of the many’ in the ‘slave revolution’. This revolution was brought about by a Jewish man, Jesus of Nazareth, followed by his group of unlikely revolutionaries.

At the centre of this movement was one central image: a man dying on a Roman cross, a punishment meant for slaves and criminals.

God in human flesh dying as a victim of oppression, was an image that gave power to the powerless.

Nobility was no longer be found in inflicting suffering, but in enduring it for the sake of others.

Historian Tom Holland writes in his book Dominion: The Making of the Western Mind:

‘The spectacle of Christ being tortured to death had been bait for the powerful. It had persuaded them … that it was their natural inferiors, the hungry and the humble, who deserved to inherit the earth’.

Holland traces this revolution and the ways in which this counter-narrative slowly seeped into Western culture, implanting a concern for the powerless. The welfare state, universal human rights, movements like #MeToo all find their source in this world-rupturing event.

Holland writes elsewhere: ‘The wellspring of humanist values lay not in reason, not in evidence-based thinking, but in history.’

We have been shaped by this history in more ways than we know.

Our generation suffers from cultural amnesia. We forget the reason for how we reason today. Our desire to see Rome (and our own nation, for that matter) become a home for the many and refuge to those in need, is a desire that has been shaped by Christian values.

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