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Creed
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Truth and Trust
6 min read

The BBC and the quest for Truth

Space for neutrality is shrinking; two French philosophers explain why

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

BBC News logo.
BBC.

Watching American news always feels very different from the British version. Changing channels from CNN to Fox News feels like you're switching to a different universe altogether, as on each one you're getting a very different interpretation of events. The BBC has always been thought to rise above this. In the UK and beyond, through the World Service, the Beeb has, until recently, been viewed as an oasis of impartial, authoritative reporting in a world of propaganda and state-run media.

Now, allegations of bias, with evidence that BBC editors doctored a speech of Donald Trump to make it sound worse than it was, one-sided coverage of transgender issues, and perceived anti-Israel prejudice, have led to doubts about the truthfulness of BBC reporting, and the resignations of the Director General Tim Davie and its CEO, Deborah Turness.

It does seem that the BBC has fallen into an echo chamber, reflecting the generally liberal, metropolitan left-leaning ethos of the chattering classes. And that is a problem, especially for a taxpayer-funded corporation. At the same time, it is much harder for media companies these days to be neutral. Once upon a time, there was perhaps a broad space for impartiality and a general trust that institutions like the BBC could be trusted to tell the truth. Trying to be politically and culturally balanced these days, however, is like trying to walk along an ever narrowing mountain arête with an increasingly slim path of independence, while the steep and sheer slopes of the culture wars beckon on either side. The idea of a media platform maintaining strict neutrality is becoming harder and harder to sustain these days.

In Britain, that narrow arête has become smaller and smaller, with the BBC perceived as falling on one side of the debate, and GB News emerging to offer a perspective from the other, offering different assessments on what's going on, increasingly mirroring their American counterparts.

Now there is a reason why this space for neutrality is narrowing, rooted in cultural and philosophical developments over the past 50 years or more.

Foucault’s challenge

In the 1970s and early 80s, French philosopher Michel Foucault taught a whole generation of students - and his ideas became embedded in universities across the world - that claims to truth were in essence assertions of power. Foucault had been a Marxist, believing that power had to be wrested away from the hands of the ruling classes and placed in the hands of the proletariat. After the Paris student riots of the late 1960s, he changed his mind and started to believe that power is never concentrated in one place. It flows in multiple directions in any human relationship or institution. In such interactions, all kinds of power dynamics are at play, and you need to be very watchful to notice how they work. Power produces ‘truth’ - in other words a justification for its existence - and such ‘truth’ produces power, in that this ‘truth’ reinforces the power relations it was designed to justify. He often claimed not to be making a moral judgement – in fact moral judgments were irrelevant: “My point”, he said, “is not that everything is bad, but that everything is dangerous.” If all truth is power, then nothing is neutral. Everything is dangerous. You can’t trust anyone.

The result is that there is really no such thing as a neutral, absolute truth. All claims to truth come from a particular perspective on things. There is no ‘view from nowhere’ that stands above all our limited perspectives, and therefore the idea of finding ultimate absolute truth is fruitless.

Foucault’s target was the idea inherited from the Enlightenment that we could find truth through impartial rational inquiry. So for him, the idea that something like the BBC was an arbiter of neutral, rational truth was a mirage all along. The irony is that if the BBC has drifted into a left-leaning echo chamber, it has wandered into space deeply influenced by Foucault’s ideas – ideas which by definition make its claim to any kind of neutrality increasingly difficult to sustain.

The prevalence of these ideas explains why it is harder and harder for news outlets to remain neutral, or claim to offer the truth of things. 

Pascal’s perspective

So what does Christian theology say to this? At one point in his Pensées, another French philosopher, Blaise Pascal (unlike Foucault, a Christian one from the seventeenth century), says to the Foucault-type sceptic of his own day:

“I maintain that a perfectly genuine sceptic has never existed. Nature backs up helpless reason and stops it going so wildly astray.”

In other words, it's impossible to be a total sceptic about truth. Even the most progressive philosopher puts the kettle on and expects it to boil. He wakes in the morning expecting the sun to rise. There is such a thing as capital-T Truth and an order to the world that we didn’t create, and can be relied upon. We simply have to receive it and be grateful for it.

So far, so conservative. Yet Pascal then casts doubt on our ability to know that truth absolutely:

“Let us then concede to the sceptics what they have so often proclaimed, that truth lies beyond our reach and is an unattainable quarry, that it is not to be found here on earth, but really belongs in heaven, lying in the lap of God, to be known only in so far as it pleases him to reveal it.”

Perhaps surprisingly, Pascal agrees with Foucault, that absolute truth is unattainable to us here, at least if we think we can find it by some process of impartial human reason. Only God knows the truth. Our perspectives are inevitably limited and the only way we can know the ultimate truth is if it is revealed to us.

Which points to the heart of what a Christian believes about truth - that ultimately it is not so much rational and propositional but personal. Jesus does not say ‘here is the truth’, or ‘this is the truth’, but ‘I am the truth’.

Truth, in other words, is not just something you read on a page. It is not the product of brainy people sitting in a room analysing the data. Data always has to be interpreted and that's when fallible, inevitable and unspoken human prejudice creeps in. Truth is personal. You see it in a life – most perfectly in the life of Jesus. And if it is to be found here and now, it comes out of a life that has learned to be like Jesus, truthful in all kinds of simple personal interactions, honest even when it's inconvenient, generous even when you have little to give.

Truth, in Christian understanding, is a quality of life. It is not something that can be expected to arise from some august body of clever people – the Royal Society or the BBC. The BBC, like ITN, GB News, CNN, and Fox – and like the rest of us - will always be biased - and maybe it’s better to acknowledge that than try to hide it. To have a limited take on things is part of the human condition.

The only way we can rise above that to the ‘truth that comes from above’ as the Bible calls it, a truth which is “pure, peaceable, gentle, full of mercy, without a trace of partiality or hypocrisy” is the spiritual path of inner growth, through prayer, the practice of goodness and compassion.

Truth is not something we possess but something we grow towards. When the BBC – or any corporation for that matter - embraces the spiritual path of yearning for the ‘truth that comes from above’, then we might get nearer to trusting it again. 

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Review
Culture
Film & TV
Trauma
5 min read

This bad TV version of The Last of Us ruins much more than storytelling

Following up the acclaimed video game doesn't deliver prestige viewing.
A pensive looking woman glances to the side.
Ellie, played by Bella Ramsey.
HBO.

What’s the point of the TV adaptation of The Last of Us

Throughout its second series, I’ve been trying to wrap my head around this question. I’m still short of an answer. 

Turning the two The Last of Us video games into prestige TV was always going to be problematic, because those video games already were prestige TV. You just had to press buttons on a controller now and then.  

The first The Last of Us video game is regularly included in lists of the best video games ever, and it’s not because of any ground-breaking gameplay or because of any technological advancements it made. It’s because of its story.  

It is richly character-focussed, gritty, realistic, and utterly human. The Last of Us Part I (as it’s now known) carries the kind of gravitas and emotional complexity you might expect from the likes of The Sopranos, Breaking Bad, Chernobyl, or The West Wing. It’s already prestige TV.  

So, is the TV adaptation simply an attempt to make this same story accessible to people who don’t play video games? Maybe. That would make sense, were it not for its deeply frustrating second series, the finale of which has just aired. 

The Last of Us Part II was massively controversial when it released in 2020. (WARNING: absolutely colossal spoilers ahead, for both the games and the TV show). Joel – the main protagonist of the first game – is abruptly and brutally murdered in its opening act. This leads Ellie – his pseudo-surrogate-daughter – to hunt down those responsible in attempt to enact a reckoning.  

In the video game, most of the story is told over the course of three days. First, from Ellie’s perspective, then from the perspective of Abby, Joel’s killer. In the TV show, the second series covers Ellie’s side of the story before very abruptly shifting to Abby’s side in the final seconds, leaving the viewers with a cliffhanger. Even as someone who’s played the game and knows what’s going to happen, it felt like a bit of a slap in the face. 

But for someone who hasn’t played the games it must be bordering on nonsensical. Even spread over two series, the story is so truncated, and so much is left unsaid. I can’t imagine making sense of this series without having played the video game first. But the TV show is basically just a live action remake of the game. Which again begs the question: what’s the point of the TV adaptation of The Last of Us

I’ve found this series, and the video game it’s based off, hugely frustrating. Because it’s trying to convey an important message. But both the game and the show contrive to undermine their important central ideas through poor storytelling techniques and structures.  

But in making clear what was left unsaid in the game, the power of the moment is undercut. Much is spoken; little is said. 

Let’s take one example. Half-way through the game (or towards the end of series 2), Ellie has tracked down and tortured one of Abby’s friends for information on her whereabouts. Afterwards, she talks to her lover Dina about what happened.  

In the game, it’s harrowing. Ellie is visibly shaken by what she’s just witnessed herself do. “I made her talk.” She says. And then to Dina: “I don’t want to lose you.” “Good,” comes Dina’s reply. And that’s it. Cut to black. Little is spoken; much is said.  

But where the scenes last about 30 seconds in the game, in the TV show it’s over five minutes long. “I made her talk. I thought it would be harder to do, but it wasn’t. It was easy. I just kept hurting her.” So says Ellie, halfway through the conversation. The writers are clearly trying to make explicit Ellie’s fear that she’s losing herself, and Dina by extension, in her thirst for revenge. But in making clear what was left unsaid in the game, the power of the moment is undercut. Much is spoken; little is said. 

“I know writers who use subtext and they’re all cowards,” Garth Marenghi once said. I can only assume he writes for HBO now. 

It’s a shame the scene gets fluffed as badly as it does, because really it’s the centrepiece of the narrative. Faced with unthinkable violence, Ellie chooses to repay the act in kind. But, in hunting down and torturing those responsible, ultimately Ellie finds herself becoming less and less human with each act of revenge. Here, in this conversation with Dina, Ellie begins to glimpse the reality of this. That acts of violence towards others are ultimately also acts of violence towards her own nature.  

This is, as it turns out, a deeply Christian notion. Where other Ancient Near Eastern creation myths depict their gods as creating the world through violent and bloody struggle, in Genesis God merely speaks life into being. Where Jesus’ disciples would violently overthrow their Roman oppressors, he instead says “those who live by the sword, die by the sword.”  

Moreover, Jesus’ death by crucifixion was unspeakably cruel and violent, encompassing protracted public humiliation, sexual abuse, and mutilation. It is here that Christ draws the suffering of the world to himself, that we might be given the opportunity to live free from the ongoing cycle of violence that surrounds us. Not that we might avoid having violence done to us, but that we might find the strength not to be violent in turn.  

And this is the ultimate paradox at the centre of Christianity: that the greatest show of strength the world has ever seen is found in Christ’s being nailed to a tree.  

Violence begets violence begets violence begets violence. That’s the message of The Last of Us Part II; albeit one conveyed in a rather ham-fisted way. While I’m not optimistic, I hope the next series of the TV show manages to fix the game’s wobbly narrative structure to convey this in a way that is nuanced and compelling. Because it’s a message we desperately need to hear. 

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Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief