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.  

Article
Culture
Justice
Trauma
4 min read

Why are we so obsessed with true crime?

Our prurience often mistakes curiosity for compassion

Jamie is Vicar of St Michael's Chester Square, London.

Crime scene tape
Joshua Coleman on Unsplash.

Last month, Terry Barnes wrote in The Spectator about the ‘Trial of the Century’: that of Erin Patterson, a middle-aged Australian woman accused of murdering a dinner party-full of people with deadly mushrooms. 'All this week, on unusually cold and frosty southern Australian winter mornings, pre-dawn queues of rugged-up and puffer-jacketed hopeful spectators formed outside the rural courthouse, breath steaming in television spotlights as people stamped their feet to stay warm.' 

Journalists covering the ongoing trial compete with those spectating - and reporters have flown in from around the world to an obscure, otherwise undisturbed country town. The general fascination mirrors the streaming charts, where you don’t need to be Sherlock Holmes to observe a pattern in what’s hot. True crime – whether recreated on TV or happening in the courts - is having a moment.  

The attention of criminologists, the press, law enforcement and the justice system on real life cases such as Patterson’s is paramount. But is ours? 

A voracious appetite for true crime isn't new. In St Augustine's Confessions, he writes about a friend called Alypius who resisted peer pressure to go into the gladiatorial amphitheatre. Augustine writes about his friend being dragged in: 

'When they arrived and had found seats where they could, the entire place seethed with the most monstrous delight in the cruelty.' 

Alypius kept his eyes closed, but eventually gave in to the spectacle: 

'As soon as he saw the blood, he at once drank in savagery and did not turn away. His eyes were riveted. He imbibed madness. Without any awareness of what was happening to him, he found delight in the murderous contest and was inebriated by bloodthirsty pleasure.' 

Alypius' story is one of being freed from this addiction, but there's still a thirst for blood today in the arena of both true crime and cancel culture. The human condition, as well as being predisposed to voyeurism, is closer to William Golding's Lord of the Flies than we'd like to admit. It doesn't take much displacement of order for chaos to unravel. 

And this is why we're so fascinated: that true crime is true. The whodunnits of Agatha Christie have kept people entertained for decades, but truth is stranger than fiction. The perpetrators aren't ridiculous 2D villains and monsters, but men and women who for whatever reason have given themselves over to darkness. The mixture of motives, methods and mania aren't easily unscrambled, so we like the serialisation. The devil is in the detail, and it takes time to pore over. 

The Russian author and dissident Aleksander Solzhenitsyn, when he was sent to the gulag, gradually solved his own puzzle: that evil can be observed, but it is much closer than we think: 'Gradually it was disclosed to me that the line separating good and evil passes… right through every human heart—and through all human hearts. This line shifts. Inside us, it oscillates with the years. And even within hearts overwhelmed by evil, one small bridgehead of good is retained. And even in the best of all hearts, there remains … an un-uprooted small corner of evil.’ 

Even so, we don't like to admit that sobering reality, or nuance. We like to think we're on the side of justice. We confuse curiosity with compassion. But the Netflix shows, podcasts and twists and turns of the courtroom upend our 'just world hypothesis': we see that justice often isn't fully served in this life, making us wonder if it might be possible eternally. 

Then there's also the reality of truth being contested. The prophet Isaiah writes of a time where 'Justice is turned back, and righteousness stands far off. For truth has stumbled in the public square, and honesty cannot enter.’  

Perhaps our thirst here is not just for all the gory details, but for justice and truth. It's a theme picked up by St John in the New Testament, writing 'And this is the judgment: the light has come into the world, and people loved the darkness rather than the light because their works were evil. For everyone who does wicked things hates the light and does not come to the light, lest his works should be exposed.' Jesus declares later in this same gospel: 'I am the light of the world. Whoever follows me will not walk in darkness, but will have the light of life.’ 

The only way we can begin to make sense of evil is to consider one who absorbs our darkness, absorbs all darkness, and yet remains light, even against the backdrop of our world’s darkness.  

So what's the right balance? Can I enjoy a true crime show and be filled with light? The tipping point will probably be different for each of us. St Paul, himself a victim of injustice, writes from his prison cell: 'whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable—if anything is excellent or praiseworthy—think about such things.’ 

This isn't a call to turn a blind eye to evil. Paul isn't escaping his prison cell with escapism. He is starkly, soberingly honest about the nature of his own sin and its pervasive, polluting quality in the human condition. And we all have a responsibility to one another to detect, be vigilant and call out where there's injustice. To be ready for it. Our world is in a mess because of blind eyes and burying heads in the sand. Jesus quite clearly says he brings that light to expose the darkness. But meditating on and marinating in darkness as entertainment? That is something different.  

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