Culture
How Indonesia turns unknown footballers into adored superstars: ‘We couldn’t leave the hotel’
Maarten Paes is the starting goalkeeper for Major League Soccer team FC Dallas. Yet he can walk down a busy street in Dallas, Texas, and nobody will notice him.
That is not the case online. Or in Indonesia.
Like his team-mates in the Indonesia national team, Paes is mobbed when he visits the country and has a huge social media following, far bigger than would be expected of a player yet to trouble football’s uppermost echelons.
Paes, 26, was born in the Netherlands but became an Indonesian citizen in April and was shocked by the rapid growth of his socials — he has 1.7million followers on Instagram and 1.2m on TikTok.
“You already know before it happens because you’ve seen it happen to other players. It’s such a huge country and they are all in love with soccer,” Paes says.
The 26-year-old knew he was eligible to play for Indonesia for a couple of years but at the end of last year, the team reached out to him again. “At that time, my grandmother was declining in her health,” he says.
“She’s from there and I spoke with her a lot about it. It was a thing I could do that would make her smile at the end of her life. That was huge for me. She said, ‘I would really love if you would do that’. So she encouraged me and it was an honour to do it for her.”
After news broke that he was switching to Indonesia, his life changed. “That was when I felt I needed to get a relationship with my social media in a different way, where you can put it away for a while because it can be a little bit overwhelming,” he says. “It’s surreal that suddenly you’re getting adored by so many followers and such big crowds.”
Paes, who represented the Netherlands at youth level, played his first two games for Indonesia during the recent break. He says the goalless draw against Australia, who were 109 places above Indonesia in FIFA’s world rankings, in front of more than 70,000 fans at the Gelora Bung Karno Stadium was eye-opening.
“It was like for the first time it all hit me, how big it is,” he says. “You see it on the internet, you see the numbers and you can’t really wrap your head around it. Then we couldn’t leave the hotel without security.”
Oxford United, who sit ninth in the Championship, England’s second tier, rarely generate big numbers on social media, but in August, a video they posted on Instagram hit 5.2million views.
Australian A-League side Brisbane Roar experienced a similarly curious upturn in engagement across social channels this month too. Like Oxford, Brisbane’s videos posted to Instagram are usually viewed thousands of times. Yet back-to-back videos posted to Instagram garnered 4.5million and 1.7million views for Roar.
The explanation? You’ve guessed it: the summer arrival of two Indonesian soccer superstars, in the form of the national team’s youngsters Marselino Ferdinan and Rafael Struick.
Ferdinan is a 20-year-old attacking midfielder who signed for Oxford from Belgian second-division side Deinze last month. Struick is a 21-year-old forward who joined Brisbane (owned by Indonesian conglomerate Bakrie Group) from ADO Den Haag, in Dutch football’s second tier, this month.
Neither arrived as a household name, at least in Europe or Australia, nor were they from well-known clubs.
Within days of Ferdinan joining Oxford, their follower count on Instagram grew from 83,000 to 226,000. Some of Brisbane’s previous posts received less than 10 replies. Struick’s announcement had 9,000.
This is the Indonesia effect. The country in south-east Asia has a population of more than 280million people and football is the No 1 sport. Cue adoration for national team players and fanaticism online and offline.
To illustrate the point, below are some stats compiled by The Athletic to compare Indonesia’s starting XI with the United States men’s national team’s starting XI — but we’re not looking at expected goals or progressive passing. We’re comparing Instagram followers.
Indonesia’s starting XI for their World Cup qualifier against Australia had a collective Instagram following of 26.9million. The 11 clubs they play for have a combined following of under 10m on the same app.
In comparison, USMNT’s last starting XI from their friendly against New Zealand had a combined following of only 1.4m.
That number could have been higher but Christian Pulisic, the AC Milan forward with 7.8m followers on Instagram, was on the bench.
What comparing the two starting XIs should highlight is the level of support for Indonesian players compared with, for example, a country of more than 335million people that will host the men’s World Cup in 2026.
The only players in the starting XI for Indonesia’s goalless draw with Australia who have fewer followers than the club they play for are Rizky Ridho, who plays centre-back for Indonesian Liga 1 side Persija Jakarta, and Justin Hubner, who is at Wolverhampton Wanderers in the Premier League.
Hubner, 21, joined Wolves’ youth ranks in 2020. He has yet to feature for the senior side and plays the majority of his games at academy level — but with the national team, he is treated like he plays week in and week out for Real Madrid, such is the fanfare he experiences online and in person.
“I can’t leave my hotel (in Indonesia) because there are people waiting for me, running to me. Everywhere I go it’s crazy,” Hubner tells The Athletic. “If I go into a shop and then walk out, there will be maybe 100 people waiting. I’m their idol, so they are waiting for me, for pictures and autographs.”
More on the world of social media and football…
Hubner was born in the Netherlands and played alongside Xavi Simons (an Instagram star as a teenager at Barcelona, he had one million followers before he was 14 and now plays for RB Leipzig) in Dutch youth national teams. With Indonesia once a Dutch colony, a growing number of players in the national team have dual citizenship.
“I had maybe 5,000 followers on Instagram and when the fans realised I had Indonesian blood it went to 30k and now I’m at 2.7million,” says Hubner. “In terms of social media, everything has just grown so fast. Everything from brand deals too. There’s so much coming to me now. It’s a dream.”
The day before speaking to The Athletic, his deal with deodorant firm Rexona was launched. “A lot of team-mates here at Wolves say, ‘Can I change my national team to Indonesia?’, as a joke.
“But the guys here support me and are happy for me. They also want followers because it’s nice to have, but it is not about followers, the important thing is that I’m playing for the national team and what comes with it is really nice.”
Hubner went on loan to Japanese side Cerezo Osaka last season and says there were always Indonesia fans there to watch him, but when he travelled back to England following the two World Cup qualifier games against Saudi Arabia and Australia, there was no welcome party like there would have been at Jakarta airport. He returned to his apartment alone and without the need for security.
“It’s a different world,” Hubner says about his quiet life in Wolverhampton. “When I come back to Europe it is like I am living my own life, no stress. In Indonesia, there is a crazy side. You have no privacy, wherever you go there’s always people recording you, it’s nice but it is also good to get back to your own space and privacy.
“When I landed in Indonesia, I tried to hide myself with a cap and a mask but they recognised me straight away. Even the security and police wanted pictures with me. There was 50 to 60 people who wanted a picture. My family are also quite famous now. I made an Instagram account for my mum and she has nearly 50,000 followers. Everyone recognises her. The first time she went to Indonesia, she was asking why people wanted pictures with her.”
When fans meet Hubner he says it is not uncommon for them to be overawed with emotion. Some have cried. His mother, Brigitte, has received direct messages from fans who dream of marrying her son. This star factor is something clubs are trying to tap into.
“Dallas have been noticing it,” goalkeeper Paes says. “There’s been a big boost in terms of engagement for the club. If I play for a club, I like to help them as much as possible because they help me a lot too. My main focus is to keep the balls out of the net for them, but help to build this club, build awareness.”
Oxford, Ferdinan’s new club, are co-owned by Erick Thohir, an Indonesian businessman who helped restore them to the second tier after a 25-year hiatus. Thohir was also appointed head of the Football Association of Indonesia last year and is behind the drive to improve the national team, youth teams and wider football across Indonesia.
“The exciting thing about Marselino is that he is the best young Indonesian talent,” says Thohir. “He’s 20, he’s been playing and training in Belgium.
“We need to be investing in young players at Oxford. He’s young but he has played more than 20 times for our national team, so the Oxford manager wants to give him a chance, and that’s the most important thing.
“If he brings more awareness to Oxford, it is an extra value.
“We want to see an opportunity for any players who can play,” he adds. “So let’s see if Marselino can survive in Oxford because we don’t give any red carpet or VIP treatment. He has to compete.”
(Top photos: Robertus Pudyanto, Mohamed Farag, Zhizhao Wu, Noushad Thekkayil, Getty Images; design: Meech Robinson)
Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).
This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Ada Limón, poet
Nonetheless, the poem soon makes clear that love is very much on its mind.
How should we like it were stars to burn
With a passion for us we could not return?
David Sedaris, writer
The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.
If equal affection cannot be,
Let the more loving one be me.
Reginald Dwayne Betts, poet
Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
Auden’s poem, like Marlowe’s, is written in four-beat lines:
How should we like it were stars to burn
With a passion for us we could not return?
Josh Radnor, actor
And it features strong end rhymes:
If equal affection cannot be,
Let the more loving one be me.
Samantha Harvey, writer
These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:
I do not like thee, Doctor Fell
The reason why I cannot tell.
But this I know and know full well
I do not like thee, Doctor Fell.
There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.
This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.
But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.
What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.
This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:
As lines, so loves oblique may well
Themselves in every angle greet;
But ours so truly parallel,
Though infinite, can never meet.
The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”
The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:
How should we like it were stars to burn
With a passion for us we could not return?
Mary Roach, writer
The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:
If equal affection cannot be,
Let the more loving one be me.
Tim Egan, writer
Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
How should we like it were stars to burn
With a passion for us we could not return?
Tap a word above to fill in the highlighted blank.
Your task today: Learn the second stanza!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
Literature
Oedipa Maas from ‘The Crying of Lot 49’ (1966) by Thomas Pynchon
“The unforgettable, cartoonish protagonist of this unusually short novel is a California housewife accidentally turned private investigator and literary interpreter, and the mystery she’s attempting to solve — or, more specifically, the conspiracy she stumbles upon — is nothing less than capitalism itself,” says Ngai, 54. “As Oedipa traces connections between various crackpots, the novel highlights the peculiarly asocial sociality of postwar U.S. society, which gets figured as a network of alienations.”
Sula Peace from ‘Sula’ (1973) by Toni Morrison
“Sula arguably begins to disappear as soon as she’s introduced — despite the fact that the novel bears her name. Other characters die quickly, or are noticeably flat. This raises the politically charged question of who gets to ‘develop’ or be a protagonist in American novels and who doesn’t. The novel’s unusual character system is part of its meditation on anti-Black racism and historical violence.”
The speaker of ‘Lunch Poems’ (1964) by Frank O’Hara
“Lyric poems are fundamentally different from narrative fiction in part because they have speakers as opposed to narrators. Perhaps it’s a stretch to nominate the speaker of ‘Lunch Poems’ as a main character, but this book changed things by highlighting the centrality of queer counterpublics to U.S. culture as a whole, and by exploring the joys and risks of everyday intimacy with strangers therein.”
This interview has been edited and condensed.
More in Literature
See the rest of the issue
Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.
Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)
This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.
Here’s the first of its four stanzas, read for us by Matthew McConaughey:
The More Loving One
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Matthew McConaughey, actor and poet
In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.
Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.
Tracy K. Smith, poet
These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.
This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.
The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.
But the third stanza takes it all back. Here’s Alison Bechdel reading it:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Alison Bechdel, graphic novelist
The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.
The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
Yiyun Li, author
Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.
Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.
The last line puts a brave face on heartbreak.
So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.
When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.
Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.
This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.
So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Looking up at the stars, I know quite well That, for all they care, I can go to hell,
Tap a word above to fill in the highlighted blank.
Your first task: Learn the first four lines!
Let’s start with the first couplet. Fill in the rhyming words.
Monday
Love, the cosmos and everything in between, all in 16 lines.
Tuesday (Available tomorrow)
What’s love got to do with it?
Wednesday (Available April 22)
How to write about love? Be a little heartsick (and the best poet of your time).
Thursday (Available April 23)
Are we alone in the universe? Does it matter?
Friday (Available April 24)
You did it! You’re a star.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
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