Article
Assisted dying
Care
Comment
Politics
4 min read

Assisted dying is not a medical procedure; it is a social one

Another vote, and an age-related amendment, highlight the complex community of care.
Graffiti reads 'I miss me' with u crossed out under the 'mem'
Sidd Inban on Unsplash.

Scottish Parliament’s Assisted Dying bill will go to a stage one vote on Tuesday 13th May, with some amendments having been made in response to public and political consultation. This includes the age of eligibility, originally proposed as 16 years. In the new draft of the bill, those requesting assistance to die must be at least 18.  

MSPs have been given a free vote on this bill, which means they can follow their consciences. Clearly, amongst those who support it, there is a hope that raising the age threshold will calm the troubled consciences of some who are threatening to oppose. When asked if this age amendment was a response to weakening support, The Times reports that one “seasoned parliamentarian” (unnamed) agreed, and commented: 

“The age thing was always there to be traded, a tactical retreat.”  

The callousness of this language chills me. Whilst it is well known that politics is more of an art than a science, there are moments when our parliamentarians literally hold matters of life and death in their hands. How can someone speak of such matters as if they are bargaining chips or military manoeuvres? But my discomfort aside, there is a certain truth in what this unnamed strategist says.  

When Liam McArthur MSP was first proposed the bill, he already suggested that the age limit would be a point of debate, accepting that there were “persuasive” arguments for raising it to 18. Fortunately, McArthur’s language choices were more appropriate to the subject matter. “The rationale for opting for 16 was because of that being the age of capacity for making medical decisions,” he said, but at the same time he acknowledged that in other countries where similar assisted dying laws are already in operation, the age limit is typically 18.  

McArthur correctly observes that at 16 years old young people are considered legally competent to consent to medical procedures without needing the permission of a parent or guardian. But surely there is a difference, at a fundamental level, between consenting to a medical procedure that is designed to improve or extend one’s life and consenting to a medical procedure that will end it?  

Viewed philosophically, it would seem to me that Assisted Dying is actually not a medical procedure at all, but a social one. This claim is best illustrated by considering one of the key arguments given for protecting 16- and 17- year-olds from being allowed to make this decision, which is the risk of coercion. The adolescent brain is highly social; therefore, some argue, a young person might be particularly sensitive to the burden that their terminal illness is placing on loved ones. Or worse, socially motivated young people may be particularly vulnerable to pressure from exhausted care givers, applied subtly and behind closed doors.  

Whilst 16- and 17- year-olds are considered to have legal capacity, guidance for medical staff already indicates that under 18s should be strongly advised to seek parent or guardian advice before consenting to any decision that would have major consequences. Nothing gets more major than consenting to die, but sadly, some observe, we cannot be sure that a parent or guardian’s advice in that moment will be always in the young person’s best interests. All of this discussion implies that we know we are not asking young people to make just a medical decision that impacts their own body, but a social one that impacts multiple people in their wider networks.  

For me, this further raises the question of why 18 is even considered to be a suitable age threshold. If anything, the more ‘adult’ one gets, the more one realises one’s place in the world is part of a complex web of relationships with friends and family, in which one is not the centre. Typically, the more we grow up, the more we respect our parents, because we begin to learn that other people’s care of us has come at a cost to themselves. This is bound to affect how we feel about needing other people’s care in the case of disabling and degenerative illness. Could it even be argued that the risk of feeling socially pressured to end one’s life early actually increases with age? Indeed, there is as much concern about this bill leaving the elderly vulnerable to coercion as there is for young people, not to mention disabled adults. As MSP Pam Duncan-Glancey (a wheelchair-user) observes, “Many people with disabilities feel that they don’t get the right to live, never mind the right to die.” 

There is just a fundamental flawed logic to equating Assisted Dying with a medical procedure; one is about the mode of one’s existence in this world, but the other is about the very fact of it. The more we grow, the more we learn that we exist in communities – communities in which sometimes we are the care giver and sometimes we are the cared for. The legalisation of Assisted Dying will impact our communities in ways which cannot be undone, but none of that is accounted for if Assisted Dying is construed as nothing more than a medical choice.  

As our parliamentarians prepare to vote, I pray that they really will listen to their consciences. This is one of those moments when our elected leaders literally hold matters of life and death in their hands. Now is not the time for ‘tactical’ moves that might simply sweep the cared-for off of the table, like so many discarded bargaining chips. As MSPs consider making this very fundamental change to the way our communities in Scotland are constituted, they are not debating over the mode of the cared-for’s existence, they are debating their very right to it.   

Review
Culture
Film & TV
Freedom of Belief
Politics
4 min read

Anna Politkovskaya took on the Kremlin and she paid the ultimate price

The Russian journalist who became a martyr for truth

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A journalist wearing a body armour and a helmet looks defiant
Maxine Peak plays Anna.
Rolling Pictures

While truth recedes as a global public good, a war on journalists is taking shape. In 2024, the Committee to Protect Journalists recorded the highest number of journalists killed since collecting data thirty years ago. A large number of these were killed in Gaza, but there were deaths elsewhere: in Mexico, Syrian, Pakistan, Haiti, Myanmar.  Many more than these at least 124 journalists were physically threatened and abused online; an unknown number have been imprisoned and abused by state authorities, shadowy militias or criminal gangs. 

The illiberal tide is more powerful than the flow of liberal ideas today in the unregulated online market of opinion. A groundswell of distrust in so-called mainstream media has been effortlessly generated by sources with no obligations to impartiality and fewer professional standards round fact checking and evidence gathering. While every news source needs to be assessed for accuracy and fairness, the labelling of journalists as ‘enemies of the people’ by President Trump in his first term strayed into language used by the world’s despots. Territory occupied for many years by Vladimir Putin’s Russia. 

The 2025 film Words of War tells the story of Anna Politkovskaya, reporter for the Russian independent newspaper Novaya Gazeta who rose to fame, and therefore to the attention of the Kremlin, through unvarnished despatches from the first Chechen war that uncovered terrible war crimes. Moscow learned its lesson for the second war in Chechnya by declaring the whole region off limits to reporters. For Politkovskaya, this provided an extra incentive to be there, returning to the country over forty times to document ever more awful crimes of disappearance, rape, and torture. 

‘I witness very grave events and no-one else is reporting on them. I can’t not write about it’, Politkovskaya told the BBC’s Sarah Rainsford when they met. The meeting ended with some blunt Slavic advice: instead of interviewing a journalist about the war in Chechnya, the interviewer should be going there herself.   

Words of War has an unreal quality to it. The actors are English, but the scenes are entirely Russian. It is a reminder of Armando Iannucci’s dark comedy The Death of Stalin and even shares an actor in Jason Isaacs, who swaps General Zhukov’s blunt Yorkshire accent for the more cultured tones of Politkovskaya’s anxious husband, Sasha.  

Politkovskaya was a force of nature, and a devout Christian. She knew the kind of people she was messing with and what they were capable of, but she carried on the same, driven by an implacable will to truth. On flying to cover the appalling school siege at Beslan in 2004 – a scene the film begins with - she became violently ill, almost certainly a targeted poisoning like Alexei Navalny suffered on a plane over Siberia. 

I get intimidating calls, people hovering in my hallway, she observed. There’ve been so many threats, there was a time when my editors decided my life really was in danger.  But I’m used to it.  If the FSB is so opposed to me, it only proves that what I’m doing is effective. 

On October 7, 2006, Anna Politkovskaya was shot dead as she entered her block of flats with a handful of groceries. It was Vladimir Putin’s birthday. Five men were eventually found guilty of organising and carrying out the murder, but the person who ordered the killing was never found out. Speculation round how high the order came from is, in a way, superfluous: this is the nature of Russia’s state in the twenty first century.     

Elena Kostyuchenko is a millennial writer who features in the film as a young Novaya Gazeta intern and was inspired by her contact with Politkovskaya, ensuring a legacy in a younger generation: 

She was the first person I saw when I came to the Novaya Gazeta editorial offices. Tall, radiant, with silver-white hair, flying down the hall. I didn’t recognise her. I was just struck by her beauty. 

Stalin’s alleged mantra: no person, no problem, remains barely deniable Kremlin policy. The late politicians Boris Nemtsov and Alexei Navalny are simply the highest profile of a large cohort of individuals barely known in the west who have opposed Putin with stunning levels of bravery. Caricaturing Russians as corrupt, rapacious and violent – as well as being a lazy trope - is to abuse the names of an untold number who retain their dignity, integrity and agency. 

New histories are written in nations where regimes fall, but whether they tell a truthful story about the past depends on the environment the new authorities allow. The human rights group Memorial began this work in the early post-Soviet era, only to be shut down by Putin’s police officers. Words of War should have been made in Russia by Russians. One day maybe it will be, and Anna Politkovskaya will be seen across Russia for what she is: a martyr for truth.  And not an enemy of the people. 

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