As a researcher in the gambling studies field and an avid watcher of films, it comes as little surprise that I love watching films where gambling is key to the plot. Occasionally, I write academic papers about gambling portrayals in film (most notably an in-depth look at my favourite gambling film, The Gambler – the original 1974 film starring James Caan in the title role and not the more recent 2014 remake starring Mark Wahlberg – which I published in a 2004 issue of the International Journal of Mental Health and Addiction). I wrote about this paper in a previous blog and I have also written a few blogs where gambling films are central to the articles such as my blog on Philip Seymour Hoffman and his film Owning Mahowny, my blog on the psychology of Columbo (where I argued that gambling and gamblers are central to many of the plot lines), and my blog on the psychopathology of Star Wars (where problem gambling is one of the many disorders that features in the film’s franchise).
The world of gambling and gamblers has been portrayed in many films and in many different ways throughout the years (e.g., The Sting, The Cincinnati Kid, Casino, Owning Mahoney, Rain Man). However, I argued (way back) in a 1989 issue of the Journal of Gambling Behavior that many of these film representations tend to cast gambling in an innocuous light, and often portray gamblers, largely male, as hero figures. I made this observation without doing any systematic review of films containing gambling and my thoughts were purely impressionistic.
A decade ago, Dr. Nigel Turner and his colleagues published a lovely study in the Journal of Gambling Issues examining ‘images of gambling’ in films. They built on Jeffrey Dement’s 1999 book Going for broke: The depiction of compulsive gambling in film. They noted that:
“Dement’s (1999) book, Going for Broke is a thorough examination of movies that depict pathological gambling. He examined a number of films in terms of the extent to which the portrayals delivered accurate and appropriate messages about problem gambling. Although some movies accurately portray the nature of pathological gambling at least during some segments, Dement found that many movies about pathological gambling had irresponsibly happy endings. Film images in some cases reflected societal views on gambling. However, images in films may also alter societal views of gambling (Dement, 1999)…Dement focused only on movies that were about problem and pathological gambling. Many films that depict gambling or have images of gambling that are not about pathological gambling per se. In [our] article we will extend Dement’s work by looking more broadly at films about gambling”.
In their study, Turner and colleagues content analysed 65 films (from an initial list of “several hundred films”) mainly from the two decades prior to the publication of the study. The authors recounted that:
“Many of the films we discuss are personal favourites that we have watched several times (e.g., Rounders, The Hustler, Vegas Vacation, The Godfather). Some of the films reviewed in this article have been also discussed by [other scholars]. Some films were included because they were found listed as gambling films in film catalogues or by Web searches for ‘gambling movies’ (e.g., Get Shorty). Other films were suggested to us by recovering pathological gamblers, counsellors specializing in problem gambling, recreational gamblers, video rental store employees, and postings to the bulletin board of Gambling Issues International (a listserve for gambling treatment professionals). Our examination of movies was restricted to movies released in cinemas (i.e., not television), and filmed in English (with one exception, Pig’s Law)…In all cases, either the first or second author viewed each film. In some cases both authors viewed the same film separately. The authors then discussed the themes that they thought were depicted in the film. The authors then collected the descriptions of movies and organized them into general themes”.
After viewing (and re-viewing) the films, the authors found eight themes (often overlapping) represented in the movies watched. More specifically these were the themes of: (1) pathological gambling (films such as Fever Pitch, The Gambler, Owning Mahowny, Pig’s Law, etc.), (2) the magical skill of the professional gambler (Rain Man, Two For The Money, The Cincinatti Kid, Maverick, etc.), (3) miraculous wins as happy endings (The Cooler, The Good Thief, Two For The Money, etc.), (4) gamblers are suckers (Casino, Croupier, Two For The Money, etc., (5) gamblers cheat (Rounders, The Sting, House of Games, The Grifters, etc.), (6) gambling is run by organized crime (The Godfather, Casino, Get Shorty, etc.), (7) the casino heist (Ocean’s Eleven, The Good Thief, Croupier, etc.), and (8) gambling as a symbolic backdrop to the story (Leaving Las Vegas, Pay It Forward, Fear and Loathing in Las Vegas, etc.).
After this initial content analysis, Dr. Turner and his colleagues organized these eight themes into a general taxonomy of films. They reported that:
“First these films can be divided into two categories: films in which gambling is a central focus of the film, and others where gambling is a relatively minor topic but serves a symbolic role in the film. The films that are about gambling can be further divided into those that present generally negative views of gambling (e.g., pathology, crime, cheating) and those that present a generally positive image of gambling (e.g., magical skills and miraculous wins). The positive image is mainly related to the ability of the player to win (by skill or by miracle), but some of these films also add additional positive images by hinting at a glamorous and exciting lifestyle (The Good Thief, James Bond films, Rounders). Negative images of gambling are more common than positive images of gambling. Negative images were further divided into pathological gambling, suckers, cheaters, organized crime, and robbing casinos”.
They also go on to note that: very few films show ordinary people gambling non-problematically:
“Throughout the history of movies, gambling-related stories have been present. Movies about gambling are most often inhabited by problem gamblers (e.g., The Gambler), cheats (e.g., Shade), criminals (e.g., The Godfather, Ocean’s Eleven), spies (e.g., Diamonds are Forever), people with incredible luck (e.g., Stealing Harvard), and professional gamblers (e.g., Rounders, The Hustler). With the exception of The Odd Couple (1968), we have come across few movies that show ordinary people gambling in a non-problematic manner”.
With regards to problem and pathological gambling they conclude that:
“Some movies provide important insights into the nature of pathological gambling (e.g., The Gambler, Owning Mahowny, The Hustler). However, others make light of the disorder or indulge in the wishful thinking common with pathological gamblers (e.g., Let It Ride, The Cooler, Fever Pitch, The Good Thief). In some movies people develop a problem too quickly (Viva Rock Vegas, Lost in America). Some films take the view that all gamblers are addicted (Croupier, Two for the Money)…Most films about pathological gambling depict a narrow segment of the problem gambling population focusing on the male “action” gambler (see also Griffiths, 2004). Most pathological gamblers simply do not embezzle millions of dollars as in Owning Mahowny or take stupid risks just for the thrill of it as in The Gambler. Films rarely show gamblers hooked on slot machines or other electronic gambling machines even though such machines, where they are available, now account for a majority of problem gamblers in treatment”.
Obviously the sample of films chosen was selective and there were over a hundred films that weren’t analysed. However, even though the study was published ten years ago I don’t think the results (if repeated on more contemporary films) would be particularly different.
Dr Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Dement, J.W. (1999) Going for broke: The depiction of compulsive gambling in film. Lanham, MD: The Scarecrow Press, Inc.
Griffiths, M.D. (1989). Gambling in children and adolescents. Journal of Gambling Behavior, 5, 66-83.
Griffiths, M. (2004). An empirical analysis of the film ‘The Gambler’. International Journal of Mental Health and Addiction, 1(2), 39-43.
Gluss, H.M. & Smith, S.E., (2002). Reel people: Finding ourselves in the movies. Keylight: Los Angeles.
Turner, N. E., Fritz, B., & Zangeneh, M. (2007). Images of gambling in film. Journal of Gambling Issues, 20, 117-143.
Over the last decade, gambling and gaming technologies have begun to converge with video games featuring gambling-like elements, and gambling games featuring video gaming-like elements. Many of the newer convergent gambling-gaming convergent forms include such activities as online penny auctions and gambling-type activities on social networking sites, so-called ‘social gaming’. With regard to video gaming including gambling-like elements, a paper that I co-wrote in 2012 with Dr. Daniel King in the journal International Gambling Studies noted that simulated gambling activities and gambling themes have a substantial presence in many modern video games. We noted that gambling content in video games can be categorized according to the following three categories:
- Standard gambling simulation, a digitally simulated interactive gambling activity that is structurally identical to the standard format of an established gambling activity, such as blackjack or roulette;
- Non-standard gambling simulation, an interactive gambling activity that involves the intentional wagering of in-game credits or other items on an uncertain outcome, in an activity that may be partially modelled on a standard gambling activity but which contains distinct player rules or other structural components that differ from established gambling games;
- Gambling references, the appearance of non-interactive gambling material or gambling-related paraphernalia/materials within the context of the video game.
In regard to the second of these categories, it could be argued that some online video games feature mini-games that are non-standard gambling simulations. For instance, in February 2014, the mini-game Treasure Hunter (TH) was introduced into the online video game Runescape. To get in-game prizes, players have to get keys to open chests. Originally, to participate in TH, players had to play in a members’ world. Players that tried to play TH in a free world are given the message: “As a member, you are eligible for improved prizes, so please play Treasure Hunter on a members’ world instead.” However, in April 2014, TH was reformulated and for the first time, members’ prizes could be claimed by those playing in a free world also.
In TH, five chests can be opened, each containing one of five different gems (going from most common to least common – white, yellow, orange, red, or purple gem – with white being the most common and purple being the rarest). After obtaining a key, players select a chest (not knowing what gem is inside the chest), and open it. The player is then given the option of storing the prize in the bank, discarding the prize, collecting the prize later, or cashing out for a small number of coins. There are a number of different ways to gain TH keys (free daily keys, keys obtained through skilful gameplay, and buying keys). Members get two free keys a day and those playing in free worlds only get one free key a day. Those players paying to be in the silver or gold Premier Club get three free keys a day.
It should also be noted that (i) TH is reset every night at midnight, (ii) free keys have to be used on the day, (iii) one monthly free key can be earned by playing ‘Troll Invasion’, (iv) players can buy bonds for gold coins or money, and (v) a random number generator is used to determine the winners. After completing any daily challenge, players receive an extra key, and after completing any in-game quest, players receive two additional keys. Keys can be bought in bundles of 15 (€3.99), 35 (€8.00), 75 (€16.00), 200 (€39.99) or 450 keys (€79.99). The maximum number of keys that could be bought is $200 (US) a day and $500 (US) a week. Keys can also be earned by watching advertisements, buying products, and completing surveys (and accessed via the ‘Earn keys’ option). TH prizes include in-game skilling items, weapons, bonus experience stars, etc. or can be converted to coins.
The legal definition of gambling in Great Britain is contained in the Gambling Act 2005. It notes that gambling includes “gaming”, “betting” or “participating in lottery”. Gaming is defined in the 2005 Act as “playing a game of a chance for a prize” while betting involves the process of placing or accepting a bet on anything other than financial services that remains uncertain to at least one party of the transaction at the time of the bet. By this definition alone, it would appear that Treasure Hunter is a form of gambling if purchases to participate are made (rather than being given free spins or keys, or earning them through skilful gameplay).
In 2015, the UK Gambling Commission highlighted that they believe the mini-games within Runescape to be ‘social gaming’ and not a game of chance and therefore out of their jurisdiction in relation to the regulation of the game. They have also claim that RuneScape bonds have no intrinsic value outside of Runescape under the terms of the British Gambling Act and therefore is not gambling. The Gambling Commission also note on their website that:
“We are not saying there are no risks in social gaming, nor are we saying that this ends our interest in the issue. We are simply saying that our current assessment of the available evidence is that there is no persuasive reason for us to take regulatory action, in effect to change from maintaining a watching brief. We will continue to monitor emerging evidence, and we are prepared to change this position if the evidence warrants it”.
However, there are instances when the bonds and prizes won do have value outside of the game. Bonds that are purchased with real life currency can be sold to another player for an in-game sum of money. Bonds and prizes can also be redeemed within the game for real-life services. These services are not just limited to the buying of game-related merchandise, such as the buying of card games like Top Trumps, but also includes attendance at offline RuneScape events, such as RuneFest, hotel rooms, and even plane tickets. The bonds can also be used to pay for postage and packing of items bought outside the game. Players can also donate the bonds to charity (in which Jagex contributes the full value of the bond to the charity chosen by the player). These examples clearly demonstrate that the bonds do have specific financial value outside the game in some circumstances, and an impact on real-world activities. More specifically, they demonstrate that the financial value of the bonds and prizes can be used outside the game itself.
Mini-games like Treasure Hunter within the online game RuneScape are not uncommon and are another example of convergence between gambling and video gaming. These games appear to meet the criteria for gambling found in the gambling studies literature and should be regulated as such.
Dr. Mark Griffiths, Professor of Behavioural Addictions, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Gambling Commission (2015). Explaining our approach to social gaming. Located at: http://www.gamblingcommission.gov.uk/Gambling-data-analysis/Social-media/Explaining-our-approach-to-social-gaming.aspx
Griffiths, M.D. (2003). Internet gambling: Issues, concerns and recommendations. CyberPsychology and Behavior, 6, 557-568.
Griffiths, M.D. (2015). Adolescent gambling and gambling-type games on social networking sites: Issues, concerns, and recommendations. Aloma: Revista de Psicologia, Ciències de l’Educació i de l’Esport, 33(2), 31-37.
Griffiths, M.D. & Carran, M. (2015). Are online penny auctions a form of gambling? Gaming Law Review and Economics, 19, 190-196.
Griffiths, M.D., King, D.L. & Delfabbro, P.H. (2009). Adolescent gambling-like experiences: Are they a cause for concern? Education and Health, 27, 27-30.
Griffiths, M.D., King, D.L. & Delfabbro, P.H. (2014). The technological convergence of gambling and gaming practices. In Richard, D.C.S., Blaszczynski, A. & Nower, L. (Eds.). The Wiley-Blackwell Handbook of Disordered Gambling (pp. 327-346). Chichester: Wiley.
Griffiths, M.D. & King, R. (2015). Are mini-games within RuneScape gambling or gaming? Gaming Law Review and Economics, 19, 64-643.
King, D.L., Delfabbro, P.H., Derevensky, J. & Griffiths, M.D. (2012). A review of Australian classification practices for commercial video games featuring simulated gambling. International Gambling Studies, 12, 231-242.
Earlier this week, an article by Felicity Monk was published on the Broadly website about macrophilia (individuals derive sexual arousal from a fascination with giants and/or a sexual fantasy involving giants) and also known as giant (or giantess) fetishism. Broadly is an offshoot of Vice.com and is a website is a website “devoted to representing the multiplicity of women’s experiences”. I have been interviewed by both Broadly and Vice over the last few years on a number of topics including gambling, dacryphilia, and Alice in Wonderland Syndrome. I was interviewed for the Broadly article mainly because I’m one of the few academics ever to have written an article on the topic. I was quoted as saying in the Broadly article that “no-one has ever published even so much as an interview with a macrophile in an academic journal”.
In the Broadly article, Monk managed to interview a couple of macrophiles including Katelyn, a bisexual female in her thirties (five foot two inches tall) who has a number of co-occurring fetishes including macrophilia (in which she is sexually aroused by the thought of being a giant). She also has her own giantess website (which can be accessed here, but please be warned that the site features sexually explicit content) which she set up so that macrophiles could come and “worship” her. For Katelin, her macrophilic tendencies started from watching Tom and Jerry cartoons and the disparate size of the characters. As Katelyn said:
“The first time I had a good tingly feeling was when I was watching Tom have so much fun trying to catch Jerry. I always liked how Jerry got away so that the game would continue. I so badly wanted to be that cat. Little did I know it was the start of my sexuality. [By the time I got to high school I] was fantasising about literally crushing [my] high school crushes, swallowing [my] boyfriends and girlfriends alive, and putting [my] entire foot through the school. Most of the time I felt out of place and very alone sexually. [My preferred size of being a giant] changes depending on what mood [I’m] in. Some days I’m in the mood to play with the entire earth/galaxy, and other times I’m in the mood to attack a lone city as a 100ft woman. I rarely go below 100 feet. Most commonly, however, I’m fantasizing about being mega – 3000-plus feet tall”.
Katelyn has now monetized her fetish by turning her website into a commercial venture. As the article in Broadly notes:
“[On Katelyn’s website you] will find videos for sale – many of which feature miniature, plastic people being swallowed or crushed under huge feet. There are also stories, comics, photographs, collages, a blog, and a link to Katelyn’s Amazon wish list, so her worshippers can purchase her gifts: underwear, Starbucks gift cards, vitamins so she can ‘grow’ bigger, and non-stick saucepans. Visiting the site is free, but each month around 700 of her fans make a purchase”.
My own research into macrophilia suggests that the overwhelming majority of macrophiles appear to be heterosexual males that are sexually attracted to female giantesses. However, I’ve also noted that even non-sexual scenarios involving giants can result in sexual stimulation. Each fantasy situation is different for every macrophile as the behaviour is fantasy-based. Even the preferred heights of the fantasy giants differ between individuals. For instance, some macrophiles have a preference for people only a few feet taller than themselves, whereas others involve giants who are hundreds of feet high.
In the Broadly article, Katelyn admitted she had other sexual fetishes including an “extreme mouth fetish” of similar intensity to her giantess fetish as well as furry and hentai fetishes (anime and manga pornography). This concurs with what I noted in my previous blog on macrophilia where I said that it had also been associated with other sexual paraphilias. I claimed the most noteworthy were:
- Breast fetishism: This is a sexual fetish in which an individual derives sexual arousal from being pressed against, or placed in between, the breasts of a giant woman.
- Dominance/submission: This is a sexual fetish in which an individual derives sexual pleasure being at the mercy of a giant, or from being in control of a tiny person.
- Sadism/masochism: This is a sexual paraphilia in which an individual derives sexual pleasure from being physically harmed or even killed (in this case by a giant).
- Vorarephilia: This is a sexual paraphilia in which individuals derive sexual arousal from the idea of being eaten, eating another person, or observing this process. Although there are cases of real life vorarephilia (that I wrote about in a previous blog), the behaviour is typically fantasy-based (e.g., fictional stories, fantasy art, fantasy videos, and bespoke video games).
- Zoophilia: This is a sexual paraphilia in which individuals derive sexual pleasure from sex with animals (in this case, the desire is to have sex with a giant animal that is given human characteristics (i.e., anthropomorphism). This also has some crossover with furries (those individuals who – amongst other behaviours – like to dress as animals when having sex)
- Crush fetishism: This is a sexual fetish in which an individual derives sexual arousal from being stepped or sat on by a giant person, and is also a variant of sexual masochism.
When Monk interviewed me, one of the most important questions she wanted an answer for was how people develop macrophilic tendencies. I told her that the roots of most fetishes lie in childhood and early adolescence where sexual arousal is, at first, accidentally associated with giants – maybe watching a TV programme where a giantess initiates feelings of sexual arousal. Over time the giant itself is enough to cause sexual arousal through classical conditioning. However, as there are no case studies in the literature, this is complete speculation on my part. However, she also interviewed one of Katelyn’s ‘worshippers’ (‘Mark’) who appeared to confirm my speculative thoughts.
“[I remember] seeing a re-run of Attack of the 50 Foot Woman when [I] was around 13 years old. The [point of view] of Allison Hayes walking across the desert was the first time I can recall being turned on. Seeing her tear the roof off of the building to get at her husband overwhelmed my young brain at the time. Shortly after that, another movie called Village of the Giants did the same thing. I can remember one of the giantesses in the movie said something like ‘Oh, why don’t I just step on him?’ which again turned my underage mind on like nothing prior. I would be uncontrollably drawn to [the giantess’] beauty and power despite the danger such an encounter would bring. As a superior being, she would have little regard for me other than supplying her own needs. Whether it be as food to nourish her superior body, or as a sexual play toy to be used and broken after, I would have no other choice other than submit myself to her. To have my life be hers to do with as she pleased would become the sole purpose for my existence. The exhilaration, danger, fear and sexual excitement would outweigh my very instinct for survival. I only wish it would become real”.
For her article, Monk also interviewed the Australian sex and relationship therapist Pamela Supple. Supple claimed that:
“Power, domination and vulnerability are at the heart of macrophilia. It’s allowing your mind to go wherever it wants to go, whilst engaging in play to gain the maximum sexual arousal. Some want to feel and experience terror – being crushed or controlled. Everyone is different in what they want to experience.”
Both I and Supple agree that macrophilia has enjoyed a massive surge in popularity in the past few years, with both of us citing the crucial role of the internet in helping to both create and facilitate the fetish “and, in some cases, introducing the fetish to those who have been looking for a name for what they feel”. This was confirmed by another one of Katelyn’s worshippers (‘Semeraz’). As he explained:
“[I didn’t know macrophilia’ was a thing” until [I] discovered Katelyn’s website. Before then, remember being in fifth grade and playing a game where the teacher assigned team names of ‘predator’ and ‘prey’ and becoming excited when a girl taunted him saying: ‘We’re going to eat you!’ But I never thought of it as a sexual fetish until running into Katelyn’s site”.
Since writing my article on macrophilia over four years ago, the presence of maxcrophilia online appears to have grown. Katelyn claims that her website was very niche when she set it up a number of years ago:
“It only had a handful of websites and contributors, a lot of lurkers – fetishes were much more taboo a decade ago – the content production was scarce and I was the only girl who had come out of the closet with the giantess fetish. Members thought there was no way a girl could have the giantess fetish. That made me feel alone, because I was the only giantess, and a lot of people doubted my sexuality. Nowadays, there’s so much giantess fetish content that you wouldn’t be able to see everything in a lifetime. There are millions of collages, stories, artists, producers, models, videos, and more.”
I’m not sure there are “millions of collages, stories, artists, producers, models, videos” out there on the internet but macrophilia is probably a lot less rare than I thought a few years ago.
Dr Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Biles, J. (2004). I, insect, or Bataille and the crush freaks. Janus Head: Journal of Interdisciplinary Studies in Literature, Continental Philosophy, Phenomenological Psychology and the Arts, 7(1), 115-131.
Bowen, J. (1999). Urge: A giant fetish. Salon, May 22. Located at: http://www.salon.com/1999/05/22/macrophilia/
Gates, K. (2000). Deviant Desires: Incredibly Strange Sex. New York: RE/Search Publications.
Love, B. (1992). Encyclopedia of Unusual Sex Practices. Fort Lee, NJ: Barricade Books.
Monk, F. (2016). The men who want to have sex with actual giants. Broadly, October 26. Located at: https://broadly.vice.com/en_us/article/macrophilia-fetish-the-men-who-want-to-have-sex-with-actual-giants
Pearson, G.A. (1991). Insect fetish objects. Cultural Entomology Digest, 4, (November).
Ramses, S. (undated). Introduction to macrophilia. Located at: http://www.pridesites.com/fetish/mac4black/intro2macro.htm
Slothrop, T. (2012). The Bible and Macrophilia: He Thong’s Goliath Art. Remnant of Giants, February 6. Located at: https://remnantofgiants.wordpress.com/2012/02/06/the-bible-and-macrophilia-he-thongs-goliath-art/
Fantasy sports games have been popular for many years and involves individuals assuming the role of a professional sports team manager (typically football) and assembling a virtual team of sportsmen to compete against other players within a private or public league. For decades, the game was played out across the whole season with the winners being those that had accumulated the most points (with the points gained being based on the real-life statistics of individual sportsmen using a predetermined scoring system).
However, fantasy sports have changed dramatically over the last few years. Although the game can still be played over a whole season, the playing of daily fantasy sports (DFS) has become increasing popular (particularly in countries such as the USA, Canada, and Australia) and can operate over much shorter time periods. In DFS, players can pay to play and this has led to the blurring of lines of whether the activity is a game or whether it is gambling. As Dr. Dylan Pickering and his colleagues noted in a 2016 issue of Current Addiction Reports:
“Daily fantasy sports (DFS) is the most recent and controversial of FS games…It is an accelerated version of FS conducted over much shorter time periods: generally a single game (per day) or weekly round of competition. Users pay entry fees ranging from US 25 cents to US $5000 per league, which is deposited into a prize pool typically paid out to the highest ranked users in the contest. A portion of the entry fees also goes to the operator as commission. Accordingly, DFS, as such, is most associated with wagering. Currently, the US DFS market is dominated by ‘FanDuel’ and ‘DraftKings’ (combined with about 95 % of the market)”.
According to figures in the same paper, in the USA, the fantasy sports (FS) market is currently estimated to be between $3 billion and $4 billion. In 2015, approximately 57 million Americans played FS. Research suggests that the prevalence rates are higher in North America than elsewhere with 19% of Canadian adults and 16% of American adults engaging in FS compared to 10% of British adults and 6% of Australian adults (Pickering et al., 2016). However, these figures relate to FS rather than DFS and many FS players do not pay money to participate in the game and simply play for fun. Some research by Dr. Joris Drayer and colleagues in a 2013 issue of the European Sport Management Quarterly also suggests that those who engage in playing DFS do not typically engage in other forms of gambling. Furthermore, in a 2011 issue of Journal of Sport Management, Dr. Brendan Dwyer and Dr. Yongjae Kim reported that compared to more traditional forms of gambling, the elements of fun, excitement, competition play a bigger role than winning money in the playing of DFS games.
A study carried out by Dr. Ryan Martin and Dr. Sarah Nelson published in a 2014 issue of Addictive Behaviors found that college students who were FS users (free and fee-based) were five times more likely to incur gambling problems than non-FS users, and students who played FS for money had significantly higher rates of gambling problems than those who played in free leagues. A more recent 2016 study by Loredana Marchica and Dr. Jeff Derevensky in the International Journal of Mental Health and Addiction examined data from national surveys of collegiate athletes and reported a steady rise in FS participation among college students between 2004 and 2012. They reported that approximately half of the male and a quarter of the female college athletes who qualified as at-risk or problem gamblers also reported wagering on FS.
There has been much debate (particularly by US legislators) as to whether playing DFS for money is classed as a legitimate form of gambling. If gambling is defined as “an agreement between two or more parties to deliberately stake something of value (typically money) with intent to profit on the outcome of an event that is determined wholly, or partially by chance” (by Pickering and colleagues), then DFS could well be a form of gambling as they argue:
“DFS can be construed as representing a form of gambling: (a) DFS includes an agreement between an individual and others, (b) money is staked on the relative performances of athletes across a certain number of sporting events with the outcome determined by both chance and skill, and (c) chance is involved given that multiple unknown factors can influence outcomes. In this regard, similarities are found in horse and sports wagering where some skill in selecting horse/sports outcomes is present, but unpredictable variables influence results (i.e., chance)…Literature from the legal field asserts that gambling must contain three elements: (a) consideration (staking something of value in order to participate), (b) chance (luck is a substantial factor in determining results), and (c) prizes (cash, merchandise, services, or points) are redeemable…While the first and third elements are clearly present in DFS, the second element, chance, is the source of current disagreement”.
The US legislation on gambling rests on whether an activity is more skill than chance determined. If DFS is predominantly a game of skill it is not deemed to be a form of gambling. The DFS operators claim that DFS games are not gambling because of the “substantial” amount of skill involved in the selection and management of FS teams. But is this any different for the professional gambler who bets on horse racing given the many factors that the person gambling has to take into account (the form of the horse, the skill of the jockey, the weather conditions, the state of the track, the number of other horses involved in the race, etc.). Similarly, poker and blackjack are both games that players can win big if they are skilful. Personally, I believe that playing DFS games for money is definitely a form of gambling, and even if it isn’t legally classed as a form of gambling, the games contain structural elements (including high event frequencies, low entry fee per game, lots of games, etc.) that can facilitate excessive use and expose vulnerable players to harm. DFS operators also allow team line-ups from a previous sporting event to populate other events which increases the speed of play, another factor that can facilitate habitual use. Furthermore, as Dr. Samantha Thomas and her colleagues argued in a recent 2015 report, the enhanced participatory role that fantasy games introduce could facilitate the illusion of control as they perform actions, making bettors overestimate the importance of skills and knowledge for the outcome of the competitions.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Drayer, J., Dwyer, B., & Shapiro, S. L. (2013). Examining the impact of league entry fees on online fantasy sport participation and league consumption. European Sport Management Quarterly, 13(3), 339-335.
Dwyer, B., & Kim, Y. (2011). For love or money: Developing and validating a motivational scale for fantasy football participation. Journal of Sport Management, 25(1), 70-83.
Marchica, L., & Derevensky, J. (2016). Fantasy sports: A growing concern among college student-athletes. International Journal of Mental Health and Addiction, 1-15. Epub ahead of print.
Martin, R. J., & Nelson, S. (2014). Fantasy sports, real money: Exploration of the relationship between fantasy sports participation and gambling-related problems. Addictive Behaviors, 39(10), 1377-138.
Pickering, D., Blaszczynski, A., Hartmann, M., & Keen, B. (2016). Fantasy sports: Skill, gambling, or are these irrelevant issues? Current Addiction Reports, 3(3), 307-313.
Thomas, S., Bestman, A., Pitt, H., Deans, E., Randle, M., Stoneham, M., & Daube, M. (2015). The marketing of wagering on social media: An analysis of promotional content on YouTube, Twitter and Facebook. Victoria, Australia: Victorian Responsible Gambling Foundation.
My favourite TV detective has always been Columbo (played by Peter Falk). I have watched every single one of the 69 episodes (as my family will attest) many times. While I am working, I will often have Columbo on in the background in the way that other people have music on in the background (although I do the latter as well). For those reading this that have not come across Columbo, here is a brief synopsis from Wikiquote:
“Columbo (1968, 1971-1978, 1989-2003) was an American crime fiction television show about Lieutenant Columbo, a homicide detective with the Los Angeles Police Department. He uses his deferential and absent-minded persona to lull criminal suspects into a false sense of security, by harassing and pestering suspects non-stop – without letting them know that they’re suspects – under the pretense that he’s simply being a pesky detective, in order to spy on them and agitate them into giving up clues”.
I have asked myself many times why I love the iconic show so much and it’s hard to put my finger on any single reason. One of the things I love about the show is that almost all the episodes are a ‘reverse whodunit’ (often referred to as an ‘open mystery’) in which the viewer knows the identity of the murderer(s) and we watch to see how Lt. Columbo uncovers who the killer or killers are. (I say “almost all” because there are actually a few episodes that are more typical ‘whodunits’ such as 1976’s ‘Last Salute To The Commodore’, 1992’s ‘No Time To Die’ [involving a kidnapping rather than a murder] and 1994’s ‘Undercover’). Another aspect I love is the inherent contradictions in Lt. Columbo’s day-to-day behaviour. His dishevelled clothing (the infamous beaten-up raincoat), his apparently bumbling absent-minded nature, and his habit of going off-topic in conversations, but knowing that he is actually one of the most astute and clever detectives that you are ever likely to meet (he would no-doubt fit the description of the stereotypical ‘absent-minded professor’). As a psychologist I find him fascinating. As an article about Columbo on the Cult TV Lounge rightly notes:
“The emphasis is on the psychological duel between detective and suspect, with (mercifully) no interest in social commentary and few concessions to the ‘realism’ that would become more and more of a fetish in TV cop shows during the course of the 70s. This is pure entertainment and it’s all the better for it”.
And finally, it is Lt. Columbo’s brilliant trademark ‘false exits’ that wrongfoot all the murderers. After most informal interrogations with the murderer, Columbo leaves the scene, only to return a few seconds later with the opening gambit of “there’s just one more thing” (or a variant of the phrase) only for it to be the most important question that he “forgot to ask”. As an obituary at the In The Dark website on Peter Falk noted:
“The more trivial the “thing” is, the more damning it proves. As an application of psychology, it’s a superb tactic and it slowly but surely grinds down the criminal’s resistance. Often the murderer’s exasperation at Columbo’s relentless badgering leads to rash actions and errors; the second murder, if there is one, is never as carefully planned as the first”.
As the selected (emboldened) quotes above show, psychology is an integral part of Columbo’s appeal. I was also surprised to find that clinical psychologists and forensic psychologists have used Lt. Columbo’s modus operandi in their day-to-day work. (In fact, even some writers claim that if you want to be a better writer you should watch Columbo according to an article by Shahan Mufti in the New York Times; also, a number of marketing gurus claim that Lt. Columbo can teach marketers a thing or two – check out ‘10 things marketeers can learn from Columbo’). For instance, in an article on motivational interviewing (MI) via the Australian Mental Health Academy describe the ‘Columbo approach’:
“Proponents of motivational interviewing owe a debt of gratitude to the 1970s television series Columbo…[Columbo] was a master of the skill of ‘deploying discrepancies’, and MI therapists/practitioners can use the same skill to get clients to help them make sense of their (the clients’) discrepancies. With the Columbo approach, an interviewer makes a curious enquiry about discrepant behaviours without being judgmental or blaming. In a non-confrontational manner, information that is contradictory is juxtaposed, allowing the therapist to address discrepancies between what clients say and their behaviour without evoking defensiveness or resistance. Wherever possible when deploying discrepancies, practitioners are encouraged to end the reflection on the side of change, as clients are more likely to elaborate on the last part of the statements”
The article then goes on to explicitly describe specific MI interventions using the ‘Columbo approach’. Another online article by Greg Lhamon (‘A simple trick to make a powerful last impression’) describes the ‘Columbo Technique’. Here is an abridged version:
“One way in which you can leave someone with a powerful last impression is to use…“the Columbo Technique”…named after the lovable yet shrewd TV detective from the 1970s…He was unassuming and appeared almost absent-minded as he questioned a murder suspect. Yet his seemingly random line of questioning was the process by which he built an airtight case against the suspect. At the conclusion of every interview, he did something unique: he’d thank the suspect profusely, step toward the door, stop, and then turn back, and say, “Oh, just one more thing.” Then he’d ask one last question, a particularly damning question that let the suspect know that Lieutenant Columbo was onto him. Like every form of good communication, sincerity is critical. It cannot be contrived. The goal is simply to make a strong, memorable point, not to manipulate someone. The process is simple: (1) hold back a critical piece of information and reserve it for the end of the meeting, (2) right before you part company, share the information or ask a question, and (3) enjoy the response you receive”.
A 2009 article in the American Bar Association Journal reported that the best way to interrogate a suspect is to ‘Think Columbo’. The advice given was that police should focus on what suspects say rather than their behaviour (such as fidgeting, sweating, and averting eyes during an interview). After reviewing interrogation tapes, Professor Ray Bull, a British forensic psychologist told the Times newspaper that British police use an investigative interviewing technique:
“These interviews sound much more like a chat in a bar. It’s a lot like the old Columbo show, you know, where he pretends to be an idiot but he’s gathered a lot of evidence.”
The ABA article also included comments from American psychologist Kevin Colwell, who said that suspects that lie in police interviews “often prepare a script that doesn’t have much detail”. Colwell recommended using interview techniques where the individual undergoing questioning should talk about the event in question more than once “adding details in retelling the event about things such as sounds and smells” and asking the person “to recall the event in reverse” and that:
“Those who tell the truth tend to add 20% to 30% more external detail than do those who are lying. Those who are adept at lying may start to feel more strain if the interviewer introduces evidence throughout the questioning that has been previously uncovered. Detective Columbo, it turns out, was not just made for TV”.
Another reason I love Columbo because a number of episodes featured psychologists and/or psychiatrists as the killer, most of who used their psychological expertise to carry out an ingenious murder. This included the episodes ‘Prescription Murder’ (1968 – the first ever episode; Dr. Ray Flemming who uses his high intelligence rather than his psychiatric expertise to murder his wife), ‘Double Exposure’ (1973; Dr. Bart Kepple, a consumer psychologist who uses subliminal advertising to lure his victim to be killed), ‘A Deadly State Of Mind’ (1975; Dr. Marcus Collier, a psychiatrist who uses hypnosis to make his victim jump from a high rise apartment), ‘How To Dial A Murder’ (1978; Dr. Eric Mason, a behavioural psychologist who uses classical conditioning to train his dogs to kill his victim), and ‘Sex And The Married Detective’ (1998; Dr. Joan Allenby, a sex therapist who uses her knowledge of psychosexual roleplay to ensnare and kill her lover). In one episode (‘How To Dial A Murder’), Columbo and the psychologist Dr. Eric Mason have an interesting exchange:
Dr. Eric Mason: You’re a fascinating man, Lieutenant. Columbo: To a psychologist, sir? Dr. Eric Mason: You pass yourself off as a puppy in a raincoat happily running around the yard digging holes all up in the garden, only you’re laying a mine field and wagging your tail.
As an ex-Professor of Gambling Studies, another aspect that I have noticed is how many episodes of Columbo feature gamblers and gambling that are often integral to the storyline. Gambling is a key feature in the episodes ‘Double Shock’ (1973; the murderer Norman Paris, a banker, is featured at a Las Vegas casino running up gambling debts), ‘A Friend in Deed’ (1974; the murderer Mark Halperin, a deputy police commissioner, is shown in his opening scene to be a regular casino gambler), ‘Uneasy Lies The Crown’ (1990; the murderer, Dr. Wesley Corman is a dentist and a compulsive gambler), ‘Death Hits The Jackpot’ (1991; photographer and murder victim Freddy Brower wins a $30 million on the lottery and is killed by his uncle Leon Lamarr), ‘A Bird In The Hand’ (1992; would-be murderer Harold McCain, a compulsive gambler tries to murder his millionaire uncle, owner of a US football team), ‘All in The Game’ (1993; murder victim Nick Franco is a playboy and high stakes poker player killed by his lover Laura Staton), and ‘Strange Bedfellows’ (1995; Randy McVeigh the murder victim owes money for gambling debts to the Mafia and is killed by his brother Graham who has ‘inherited’ his brother’s debt).
In another episode (‘Troubled Waters’, 1975), it turns out that the killer (Hayden Danzinger, an autocar executive) is also a regular casino gambler but this only comes to light late in the episode when Lt. Columbo talks to his wife (Sylvia Danzinger). Here we learn that Lt. Columbo thinks about slot machines:
Columbo: You see that fellow over there playing the slot machines? Waste of money. I’ve played it 44 times. I won once right at the beginning and I never won again. Sylvia Danzinger: You can’t beat ‘em. I don’t even try. Columbo: You’re not a gambler? Sylvia Danzinger: No, I prefer more quiet activities. Columbo: That’s funny. I was under the impression you and your husband went to Las Vegas quite a few times. Sylvia Danzinger: Oh, no. Hayden goes often but without me. I wouldn’t be caught dead there.
I’ve often wondered if gambling was an important issue (positive or negative) for Peter Falk in his private life, because when he wasn’t playing Lt. Columbo, it wasn’t unusual for him to be in gambling-related acting roles. Most notably, he played an ageing bookmaker Vinnie in the 1988 film Money Kings (also known under the title Vig, a film about the illegal world of gambling), and the 1988 film Pronto he played Harry Arno, a sports bookmaker who stole money from the local mafia boss Jimmy Capatorto. He also played the poker player Waller in a 1960 episode of Have Gun – Will Travel (‘Poker Fiend‘), and in the 1970 film Husbands he played Archie Black, one of three men undergoing mid-life crises following the death of their friend who then who all go to Europe to gamble, drink, and womanise.
If you’ve got this far, I’ll just leave you with the answers to a couple of my favourite Columbo trivia questions. The most asked question concerning Lt. Columbo (like Inspector Morse) is what was his first name. (When asked the same question in the series itself, Columbo would answer ‘Lieutenant’!). Lt. Columbo never once revealed his first name verbally in the series but did once flash his police badge in an early episode (‘Dead Weight’; Episode 3, Series 1) and accidentally revealed his name was Frank. The second most asked question is how Peter Falk lost his eye. Falk had his eye removed at the age of three years (due to cancer) and had a glass eye for the rest of his life. Although Falk had a glass eye, fans debated for years whether Lt. Columbo had only one eye. The answer was revealed in the 25th anniversary episode (‘A Trace of Murder’) when Lt. Columbo asked the murderer (Patrick Kinsley, a forensic expert) to look at something with him because “three eyes are better than one”!
Dr Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Burns, S. (2016). The Columbo Episode Guide. Located at: http://www.columbo-site.freeuk.com/episode.htm
Changing Minds (2013). The Columbo Technique. Located at: http://changingminds.org/techniques/questioning/columbo_technique.htm
Dawidziak, M. (1989). The Columbo Phile. Mysterious Press.
D For Doom (2015). Columbo, Season 1 (1971). Cult TV Lounge, July 3. Located at: http://cult-tv-lounge.blogspot.co.uk/2015/07/columbo-season-one-1971.html
Haynes, N. (2012). Guide to TV detectives: No.1. The Guardian, January 23. Located at: https://www.theguardian.com/tv-and-radio/tvandradioblog/2012/jan/23/natalie-haynes-detectives-columbo
Henley, J. (2013). 10 things marketeers can learn from Columbo – yes, Columbo. Rock The Deadline, November 24. Located at: http://rockthedeadline.com/blog/content-marketing/10-things-marketers-can-learn-from-columbo-yes-columbo/
Mental Health Academy (2015). Principles and techniques of motivational interviewing. January 12. Located at: http://www.aipc.net.au/articles/principles-and-techniques-of-motivational-interviewing/
Mufti, S. (2013). Want to write better? Watch Columbo. New York Times (The 6th Floor), September 25. Located at: http://6thfloor.blogs.nytimes.com/2013/09/25/want-to-write-better-watch-columbo/?_r=2
Telescoper (2011). In memorium: Peter Falk (1927-2011). In The Dark, https://telescoper.wordpress.com/2011/06/25/in-memoriam-peter-falk-1927-2011/
Weiss, D.C. (2009). The best way to interrogate: Think Columbo. American Bar Association, May 12. Located at: http://www.abajournal.com/news/article/the_best_way_to_interrogate_think_columbo/
Wikipedia (2016). Columbo. Located at: https://en.wikipedia.org/wiki/Columbo
Wikipedia (2016). List of Columbo episodes. Located at: https://en.wikipedia.org/wiki/List_of_Columbo_episodes
Wikipedia (2016). Peter Falk. Located at: https://en.wikipedia.org/wiki/Peter_Falk
Wikiquote (2016). Columbo. Located at: https://en.wikiquote.org/wiki/Columbo