When Wrexham took on Manchester United this week, it was a clash between the past and future of corporate sports identity.
; etc. In the attention economy, Manchester United mastered the art of exposure. They aimed to be seen everywhere.
Then I went around a corner, and saw it: An entire village plopped down next to the stadium, music blaring. The giant tent had windows printed on the canvas, along with a sign reading “The Turf.” It’s a cheeky mock-up of the famous pub in Wrexham where the club was founded in 1864, a locale often featured in the show. Outside, the line for the Wrexham merch counter was a hundred yards long.
There wasn’t a cloud in the sky, the music was loud, everyone looked happy, and the vibes were pitch perfect. Bennett was right. Wrexhama juggernaut. These fans of the show and team were going to show up anyway — and yet the club still built them a portable Wrexham cinematic universe. Suddenly they appear, swooping, gliding around the little Wrexham cinematic universe. Not Ryan and Rob — but cameras. Yes, this is all being filmed; fans of the show are now, literally, part of the hyperreal Wrexham. Everything Wrexham-related is content. Everything is part of the brand, including its own consumers. Object and image are now indistinguishable.
Maybe this is another key to Wrexham’s appeal. “I do believe that in this modern age in which football, money and geopolitics are intertwined in ways that are often deflating and depressing, that Wrexham are a force for good,” Bennett told me. Soccer is leaden with politics and has never seemed more morally suspect, between Qatar’s tainted and successful bid for the, nation-states buying their own clubs, and Saudi Arabia suddenly pouring vast sums of money into the game.
Then, in the span of seven minutes, Wrexham went up two goals. The crowd went nuts — this wasn’t in the script. But just before halftime Manchester United got a goal back, and at this the stadium really exploded.
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