Article
Assisted dying
Culture
Politics
5 min read

Assisted dying and the cult of kindness 

I witnessed an assisted death. We need to be honest in the debate about it.
A tableau shows minature figures of two people, one sitting on a life size syringe and the other stands
Etactics Inc on Unsplash.

The Assisted Dying Bill is likely to be passed into law this autumn, the government having promised to ‘rush it through’. The debate will invariably be conducted in a fog of euphemistic language in which ‘compassion’ and ‘dignity’ will feature heavily on both sides, while the main point is likely to be missed: the legalisation of euthanasia or AD, marks a tectonic shift from a Christian to a post-Christian society and should be a wake-up moment for dozing Christians. 

I was recently present when my aunt, an artist who had become a Canadian citizen, died by euthanasia in her own home while in the very early stages of motor neurone disease. She was 72, divorced, living independently, fully mobile (although she had lost the use of one arm) and was laughing and joking up to the moments before the doctor (or ‘The Killer’ as her son called him) injected the first dose of the lethal cocktail. It happened at 7pm on a Tuesday evening. She had made the phone call requesting her death at 3pm the previous Sunday – yes, a Sunday. Service of a kind our NHS can only dream of. 

As a reluctant witness to what I consider a murder-suicide, I was nevertheless beguiled by the relatively clean ending (although there was some disturbing gurgling that apparently occurs as a result of the lungs filling with fluid) to a life that was about to become very difficult. Her two older siblings, including my mother, are each currently several years into slow deaths from combined Parkinson’s and dementia. 

I am an almost daily visitor and a secondary carer to my mother, and while she is mute, benign and seemingly contented, the toll on my stepfather and on me is enormous. I often pray for it all to be over – it’s an endless grind and her former self would be utterly horrified to see herself this way! – and yet, as a Christian, I have to see purpose in it. One thing it certainly does do, is force carers to be selfless and compassionate in the strict sense of the word, which is ‘to suffer with’. 

Her decision to die was the ultimate consumer choice – she availed herself of a service that promised to free her from her ailing body as quickly and comfortably as possible.

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My aunt didn’t want the trial of becoming ill and dependent, and the Canadian government gave her an opt-out which she grabbed the instant she received her diagnosis. Confirmation by two doctors that she was terminally ill and of sound mind – almost a trifling formality – got her immediate approval. She was, to use her kind of language, ‘out of here’ a mere three months later. 

How could she have been so cavalier and determined to die, despite the protests of her son, nephew and granddaughters? She was, in hindsight, a perfectly minted product of the 1960s who believed above all in doing her own thing - whatever felt right. Such notions were anathema to her Christian parents and their dutiful wartime generation but are now the norm.  

Like many who came of age to the sound of the Beatles, she toured the spiritual supermarket and picked out the nice bits from Christian, pagan and Eastern religions – predominantly those that allow you to think that life is about ‘being in tune’ or feeling good about yourself. This did most definitely not include becoming immobile and having strangers change her nappy. She believed in an afterlife, ‘love’, aliens and reincarnation but definitely not in judgement or consequences for her suicide. 

Her decision to die was the ultimate consumer choice – she availed herself of a service that promised to free her from her ailing body as quickly and comfortably as possible, with the added bonus of leaving her assets to her family. 

The truth, as the Canadian experience demonstrates, is that AD is not a slippery slope but a cliff edge.

Polls in Canada and the UK show that the vast majority would consider this a win all round. According to Opinium, 75 per cent of British adults support AD. In political terms this a ‘bridge issue’ almost without comparison, uniting 78 per cent of Conservatives with 77 per cent of Labour supporters, yet no issue should more starkly dramatise the unbridgeable chasm between Christian and secular world views. 

The sharpness of this divide has, however, been successfully obscured by the insidious (and to my mind, diabolical) Cult of Kindness that has inveigled itself into both secular and Christian space. Imitating Christian virtues, it subverts them by subtly perverting language - by using ‘compassion’ when what is meant is ‘convenience’, for example – and by making ‘happiness’ rather than self-sacrifice the highest good. This leads both sides into dishonesty and self-delusion. 
 
The biggest pro-AD lie is that it is merely an escape route for the tiny few facing the most intolerable suffering with no additional consequences. The truth, as the Canadian experience demonstrates, is that AD is not a slippery slope but a cliff edge. It is now the fifth most common cause of death and climbing by 30 per cent each year. Every seriously ill Canadian now feels some pressure to address the option. Cases of people choosing AD out of despair, depression or at the suggestion of a lazy or uncaring State official are already numerous. Those who have signed an advance consent waiver setting a date for their euthanasia in the event of their mentally incapacity, are now being terminated. In some cases, the demented refuse to cooperate and are euthanised under forced sedation. The State is already saving money and families are saving their inheritances. Life itself has been downgraded. 

The Christian side indulges in even bigger untruths. Windy episcopal speeches about advances in palliative care avoid the hard fact that denying AD involves many suffering prolonged and painful deaths while family finances are destroyed and carers worn down to a husk. The pill can’t be sugared: thou shalt not kill is absolute, not an invitation for an ethical discussion. The point is so fundamental that to avoid it and be drawn into discussing the minutiae of legislation is a betrayal of the faith. 

Christians won’t save the secular world from AD and its consequences, but the current debate is an opportunity for honesty and for Christians to save themselves from the delusion that the true virtue of compassion can be inverted to justify killing.  

The Christian religion began with an agonising death of a kind which its scriptures exhorts its followers not to fear. It’s a tough message: God doesn’t promise the comfort we would like in this life. We do have the means and the duty to alleviate much suffering, but death as a consumer choice is simply off the table. 

Review
Culture
Film & TV
Leading
6 min read

Great storytelling elevates this Star Trek hero to messiah status

Before Captain Kirk, came a compelling commander

Giles Gough is a writer and creative who hosts the God in Film podcast.

Captain Pike of Star Trek.
The other captain.

Last month saw the release of the third season of Star Trek: Strange New Worlds, the prequel series that follows the crew of the USS Enterprise before one James T. Kirk took the captain’s chair. Not only does the show have the heady mix of fun and serious subject matter, it also has something quite rare for Star Trek; a messiah figure. 

Ever since its first airing in 1966, Star Trek has presented a utopian view of the future. The show’s creator, Gene Roddenberry created a world where humanity had grown up and had moved past its petty squabbles. In Roddenberry’s twenty-third century, prejudices around race, class or sex were non-existent. There were, however, some groups that could not get a look in. One topic that got very little representation was sexuality, the other was religion.  

Representation of differing sexualities would become something that Star Trek would eventually excel at depicting. Religion, however, has not fared quite so well. Star Trek’s staunchly secular universe is clearly a reflection of Gene’s views. What is interesting though, is the way that in a franchise so resistant to even the idea of God, is how concepts related to him seem to seep into the storytelling. The use of a Messiah figure, specifically a character who sacrifices their life to save others is hardly new in Star Trek. At least two captains come to mind. But there is something particularly novel about Captain Christopher Pike.  

For those who are in need of a bit of trivia, Pike, not Kirk, was the first captain of the Enterprise to be depicted. In an unaired pilot, Captain Pike is portrayed by matinee idol, Jeffrey Hunter. This captain is seasoned, world weary, and very serious. Perhaps a little too serious as the network at the time didn’t like the show in that form. They did however, take the unconventional step of ordering a second pilot, which was lighter, and more colourful in tone. Reports differ wildly as to whether Hunter quit or was fired, but one way or another, he did not return to reprise the role of Captain Pike when the show went to series. Instead, the character of Pike was replaced with James T. Kirk, played by a young William Shatner.  

This then presented the show with a problem. The production company had an entire episode’s worth of footage costing $645,000 (around $6.5m today) that was unusable in its current state. The novel solution to this problem was to write a framing story where Spock mysteriously commandeers the Enterprise and kidnaps now Fleet Captain Pike. When Spock turns himself in for court martial, he presents video footage in his defence. Footage which just so happens to be selected shots from the unaired pilot. There was just one problem with this. Jeffrey Hunter was unavailable for filming, so they had to cast another actor in the role. As the episodes would show Jeffrey Hunter’s Pike on screen, it would make the recasting look obvious. So actor Sean Kenney was slathered in burns makeup, put in a restrictive wheelchair and only able to communicate through a series of beeps, with Roddenberry writing in an explanation of how Captain Pike had been seriously injured in an explosion on a ship saving some cadets, and was now suffering from ‘locked in syndrome’. 

When Star Trek: Discovery’s second season came around, they chose to include characters such as Captain Pike (now played by Anson Mount) and Spock (Ethan Peck) to serve as a backdoor pilot for Star Trek: Strange New Worlds. Rather than steering clear of the convoluted backstory, they leaned into it, having a confident, able-bodied Pike receive a premonition of his own terrible fate. He is told at the time that he can escape if he gives up, but if he goes ahead in completing the mission, it will seal his fate. In that moment, Pike rallies himself by saying: 

“You’re a Starfleet Captain, you believe in service, sacrifice, compassion and love. No, I'm not going to abandon the things that make me who I am because the future…it contains an ending I hadn't foreseen for myself”. 

Discovery simply had too much plot in it to resolve Pike’s story satisfactorily, so when Strange New Worlds launched, it gave Pike the chance to fully unpack his trauma.  

The first episode of Strange New Worlds sees Captain Pike considering retirement from Starfleet. After all you can’t have an accident in space if you never go on a spaceship right? However, he’s drawn back into captaining the Enterprise in order to rescue his first officer, Una, who is trapped on a primitive planet. After saving her, Pike resumes command of the Enterprise. Una is aware of Pike’s vision of the future, and is desperate to dissuade him of walking into a situation that will leave him so disfigured. At which point, Pike tells her he knows the names of all the cadets he saves on that day.  “Stay the course, save their lives” he tells her.  

In the season one finale of the show, Pike meets a young boy, Maat, who is eager to join Starfleet, and Pike realises he is one of the cadets that he is unable to save. He is about to write a letter to the boy, trying to tell him about his future, when a future version of himself arrives. Throughout the course of the episode, Pike learns that if he avoids his fate and stays in command of the Enterprise, he will inadvertently start a war with the Romulans that will result in Spock’s death.  “Every time we change the path, he dies” his future self tells him. This furthers Pike’s resolve to stay the course.  

When viewed through this particular lens, Captain Pike’s story in Strange New Worlds is in effect, one long extended Garden of Gethsemane scene. In both cases we see a man, fully aware of the impact his sacrifice will have for the future, but at the same time, still feeling nervous, scared, and wanting to reject the bad hand he’s been dealt. But in both cases, both Jesus and Captain Pike recommit themselves to their mission and their fate. There are no shortage of heroes in sci-fi/fantasy, who sacrifice themselves in the heat of the moment. But a character who has multiple chances for escape, one who has time to consider the torturous weight of his own destiny, and still decides to go through with it? This elevates the character from a simple ‘hero’ to a ‘messiah figure’.   

As a result of this, watching Strange New Worlds has now taken on an experience similar to watching The Chosen, the multi-season show centred around Jesus and his disciples. Both shows have an effortlessly charismatic central character who leads those around them with grace and humility, and the more you fall in love with these characters, the more you’re reminded that something absolutely horrendous is going to happen to them. Whilst we know it must happen, it still makes us anxious at the thought of going through it.  

Over thirty years since Gene Roddenberry’s death, it’s hard to tell what he would have thought about the evolution of one of the first characters he wrote for Star Trek. On the one hand he might have rejected it out of hand for its parallels with the story of Jesus, a religion he disdained. Or he might just love it for what it is; really, really good storytelling. 

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