Article
Assisted dying
Comment
Culture
Politics
5 min read

The assisted dying debate revealed the real role of Parliament

MPs from areas where people are vulnerable and at risk were more sensitive to the dangers.

Mehmet Ciftci has a PhD in political theology from the University of Oxford. His research focuses on bioethics, faith and politics.

An MP stands and speaks in a parliamentary debate.
MP Diane Abbott speaks in the debate.
Parliament TV.

What would be the effect of allowing assisted suicide for those ‘people who lack agency, the people who know what it is to be excluded from power and to have decisions made for them’, asked Danny Kruger MP, as he wrapped up his speech? ‘What are the safeguards for them? Let me tell the House: we are the safeguard—this place; this Parliament; you and me. We are the people who protect the most vulnerable in society from harm, yet we stand on the brink of abandoning that role.’  

His words capture an important aspect of Friday’s debate: what is the point of Parliament? Do MPs meet to turn public opinion polls into policies? If the majority are in favour of something, do MPs have nothing left to do but to follow the public and sort out the fine details? We might instinctively say ‘Yes!’ It seems right and democratic to treat those whom we elect as people we select and send to do our bidding. And the polls do seem to show the majority of people supporting assisted suicide, at least in principle – although there are good reasons to be sceptical about those figures and about the conclusions drawn from them.   

But there are numerous times when the majority are known to be in favour of something but politicians refuse to endorse it. Polls repeatedly show that a majority are in favour of reintroducing the death penalty. Why might it be right for MPs sometimes to ignore what the purported majority thinks and to use their own judgement?  

Because Parliament is not just a debating chamber.  

An older way of referring to it was to call it the ‘High Court of Parliament’ because ‘parliament, classically, was where individuals could seek the redress of grievances through their representatives,’ as law lecturer Dr Robert Craig writes. It performed its function admirably in response to the Horizon scandal: a legitimate grievance was brought to its attention, and it responded to redress the wrongs done to the sub-postmasters by passing a law to ‘overturn a series of judgments that could only have been obtained, and were only obtained, by a toxic, captured and wilfully blind corporate culture’.   

Friday’s debate featured many MPs who understood what they were there to do. They acknowledged the ‘terrible plight of the people who are begging us for this new law’ as Danny Kruger said. But they also spoke up for those who were in danger of being harmed and wronged by the bill: the disabled and the dying, and all the vulnerable who were not there to speak on their own behalf.  

Many echoed the concerns expressed by Diane Abbott about coercion: ‘Robust safeguards for the sick and dying are vital to protect them from predatory relatives, to protect them from the state and, above all, to protect them from themselves. There will be those who say to themselves that they do not want to be a burden. …  Others will worry about assets they had hoped to leave for their grandchildren being eroded by the cost of care. There will even be a handful who will think they should not be taking up a hospital bed.’ And evidence of coercion is hard to find and trace: ‘Coercion in the family context can be about not what you say but what you do not say—the long, meaningful pause.’  

An analysis shared on X by law lecturer Philip Murray found an association between the level of deprivation in a constituency and how likely a Labour MP was to vote against the bill. He also shared figures showing that 2/3 of MPs from ethnic minorities voted against it. In other words, MPs from areas where people are vulnerable and at risk were more sensitive to the dangers of helping people to kill themselves.  

The second reading of the bill on Friday was a crucial moment for them to decide whether the bill would fix an injustice or whether it would itself cause harm.

But it seems that many MPs did not appreciate what the debate was about or what they had gathered to do. Layla Moran MP said: ‘The media are asking all of us, “Are you for or against the Bill?”, but I urge hon. Members to think about the question differently. The question I will be answering today is, “Do I want to keep talking about the issues in the Bill?”’ But James Cleverly MP intervened: “she is misrepresenting what we are doing at this point. We are speaking about the specifics of this Bill: this is not a general debate or a theoretical discussion, but about the specifics of the Bill.” He was right to be impatient. Unlike the Oxford Union, the vote has consequences. Parliamentarians are not there merely to debate. As the term ‘High Court of Parliament’ suggests, when MPs (either on their own initiative or as a government) propose bills, what they are often doing is conveying a plea to redress some grievance, and their debates are to decide whether to respond by making laws to grant justice to the wronged.  

The second reading of the bill on Friday was a crucial moment for them to decide whether the bill would fix an injustice or whether it would itself cause harm, because the scrutiny that the bill will undergo in the following stages is not likely to be as rigorous as with government bills. As a Private Member’s Bill, the assisted dying proposal is free to be scrutinised by a committee selected by the MP who has proposed the bill, i.e. Kim Leadbeater. When the bill reaches the stage for a final vote in the Commons at the third reading, no further amendments can be made and the time for debate is likely to be short.   

It is rare but bills are sometimes defeated at the third reading. With eighteen abstentions on Friday and at least thirty-six MPs claiming they might change their minds later, there is still hope.  

Each sitting of the Commons begins every day with a prayer by the Speaker’s Chaplain, who prays that MPs ‘may they never lead the nation wrongly through love of power, desire to please, or unworthy ideals but laying aside all private interests and prejudices, keep in mind their responsibility to seek to improve the condition of all mankind.’  

We can only hope and pray that at their next opportunity, MP will consider this bill in light of their responsibilities as the country’s High Court, charged with protecting the most vulnerable in society from harm. 

Review
Ageing
AI - Artificial Intelligence
Culture
Film & TV
5 min read

Foundation shows you can’t ‘Ctrl+V’ a soul

A sci-fi classic unearths transhumanism’s flaws

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

A woman confronts a man whose clone stands behind her.
Apple TV.

One of the reasons that science fiction has had enduring popularity as a genre is its ability to illustrate thought experiments. The way it can attempt to answer questions that can’t even be asked in any other kind of fiction is what gives it power as a form of storytelling. One question that keeps coming up is: what if you could live forever, through technology?  

One person to attempt to answer this question is Isaac Asimov, one of the early giants of the sci-fi genre. Born in 1920, Asimov arrived into a world that was rapidly changing, and yet, his imagination was still able to outpace it. Much of what he is known for is his depiction of robots, with ‘Asimov’s laws of robotics’ influencing the depiction of androids in Star Trek: The Next Generation. However, direct adaptations of Asimov’s own work were few and far between. Robin Williams’ Bicentennial Man released in 1999 and Will Smith starred in I, Robot in 2004 were the best of the bunch. That is, until Apple TV began adapting Asimov’s Foundation

Asimov’s Foundation books were written across the span of fifty years. The premise of the stories is that in a distant future, a galactic empire is beginning to fail and cannot be saved. The mathematician Hari Seldon develops the theory of psychohistory, where he uses statistical laws to predict the future of large populations. In the wake of the empire’s fall, Seldon predicts a dark age lasting 30,000 years before a second empire arises. Seldon devises a plan to reduce this dark age to just one thousand years by preserving a ‘foundation’ of knowledge. The novels describe some of the dramatic events that frustrate, or are a result of Seldon's Plan. One of the features of the story that the Apple TV show of Foundation focuses on is attempted immortality.  

Foundation gives us three depictions of ‘immortality’. Firstly, Seldon orchestrates having his conscience eventually uploaded into the Prime Radiant, a super-computer in order to allow him to shepherd his plans beyond the limits of his own human lifespan. Secondly, his protégé, Gaal Dornick is throughout the first season put into a cryo-sleep that lets her move into the future without ageing. Finally, the characters of Dawn, Day and Dusk attempt immortality through cloning. The tyrannical emperor Cleon decided that the only person fit to succeed him was…himself. So, he creates a revolving triumvirate of his own clones: Brother Day, a Cleon in his prime; Brother Dusk, an aging Cleon who serves to advise Day; and Brother Dawn, a young Cleon being trained to succeed Brother Day. This "genetic dynasty" has been ruling with an iron fist for 400 years by the start of the series.  

These interpretations of immortality grant each character the ability to shape and curate history in a way that no one human could ever achieve. But as there’s no drama without conflict, Foundation shows us the downsides of this kind of immortality. Firstly, Gaal’s version, being frozen in cryo-sleep for decades might literally extend her life, but from Gaal’s perspective, it is no longer than it would have been otherwise. Whilst she does get to see history play out, she loses connections with people like her family and her lover Raych. She is unable to build the life she would have planned for herself.    

No-one mourns your absence because there’s an identical copy of you still walking about. 

Seldon’s version of immortality is flirted with by tech bros and transhumanists like Peter Thiel. The idea of a computer that has the processing power to replicate a human brain turns up in numerous stories, but it’s another false immortality. Firstly, the original Hari Seldon still dies, and the ‘digital version’ stored eventually in the Prime Radiant is merely a copy. We might not think much of copy and pasting a document or file on our computer, but it doesn’t quite work the same for human beings. A copy is not the same as the original. You can’t ‘Ctrl+V’ a soul. In addition to this, we find out at one point that due to a mistake, Hari’s digital self has been trapped in darkness, fully conscious but with no rest, no distractions and no way of communicating with the outside world for 148 years. This naturally drags Hari into an interminable madness.  

Lastly, the Empire run by the clones, Dawn, Day and Dusk suffer much the same problem as the other two. It’s not a real immortality; as each clone eventually dies. But in many ways, it’s even worse than death. No-one mourns your absence because there’s an identical copy of you still walking about. This is a trope that is troubling, because a protagonist dying and being returned via cloning is often presented as a ‘resurrection’. It has been used as a story arc in the X-men comics and in Peter Capaldi’s era of Doctor Who, with very little outcry from their respective fandoms. Possibly because the thought that the producers have canonically killed the main character and replaced them with an exact copy is simply too uncomfortable to consider. In Foundation itself, the clones are judged by their fidelity to the original (a cold and petty despot) and any deviation is met with a death sentence. Whilst clones may be one way to rule a sci-fi galactic empire, it’s possibly their inability to adapt to changing circumstances that contributes to the fall of civilisation.  

The great irony in all of these interpretations is; you are only immortal to those observing you, and an immortality that relies on perspective is not really an immortality at all.  

It seems that hard science fiction, and ancient Greek myths can at times, overlap in their focus. Viewed in one light, Asimov’s Foundation series can be seen as one long story of Prometheus, who steals fire from the gods to give it as a gift to mankind, only to be punished by Zeus for his actions. Asimov appears to be telling us that mankind can’t accurately predict the future and you can’t live forever. So despite being a staunch atheist, one of the great minds of science fiction might be suggesting that immortality may belong squarely in the realm of the divine.

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