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4 min read

Can KPIs really measure what matters?

Distilling down worth risks losing something sacred

Rick writes and speaks on leadership, transformation, and culture.

A person leans on a balcony rail.
Which box this year?
Yogi Atmo on Unsplash

I remember recently when I was reduced to a data point. I became an inconvenient name on a spreadsheet. 

"Your services are no longer needed. We have to let you go," he stated with feigned empathy. Just like that, years of my work and contributions - hours, days, weeks, months - ceased to matter. I didn't matter. "HR will contact you shortly to explain the final details. Again, I am truly sorry." 

The Zoom meeting ended, the camera went blank. I sat in my home office, staring at the blank screen of the company-issued laptop. The only sounds were the disheveled thoughts scrambling in my head and the gentle hum of the fan circulating cool air from the ceiling above. All went quiet. Just like that I was reduced to a KPI - a key performance indicator.

Having spent years in the business world, I'm well-acquainted with its dynamics, including hiring and firing. I recognize ambition and its relentless pursuit of progress. Still, it felt like a personal blow, like a scene on Instagram or YouTube you replay endlessly on loop, trying to comprehend, trying to make sense of it all.

As your value is quantified and found wanting, a sacred inner part of you perishes. In that moment, it’s hard to feel the wonder and mystery of your creation. You don’t feel what for centuries has been called the imago Dei - that we humans are made in God’s image. Instead, you think about how you were just told “we don’t need you.” You think about paying your bills? How will this impact your career? Where will you find your next job? 

As a leader, I understand metrics are crucial for business. However, this pervasive culture of metrics has warped our perception of worth. Instead of marveling at the wonder of being made in the image of God, we have become trained to value only what can be counted. We’ve become both deaf and blind to the unquantifiable beauty of human existence.  

We’ve prioritized metrics over people. We’ve created a world where efficiency presides over meaning and productivity overshadows purpose. Ironically, this has crippled entire organizations, not optimized them. Critical components like morale, engagement, and productivity are at an all time low. Just check the numbers. (See what I did there) 

We have built a ruthless culture defined by a dehumanizing machinery of metrics. People have become problems to be optimized rather than mysteries to be revered. 

If we let our job define us and if as leaders we let it define our mystery and those we lead, we succumb to a cancerous, spiritual violence. To treat a person as a set of outputs is to willinging deny our capacity to reflect a divine truth.   

Does it have to be this way?

William Blake's poem, "The Divine Image," eloquently conveys a core theological principle: humanity mirrors the divine, embodying God's very image. We are an irreducible, immeasurable value. 

For Mercy, Pity, Peace and Love

Is God, our father dear

And Mercy, Pity, Peace and Love

Is Man, his child and his care.

Are we imago Dei? Are we the very image of God the first chapter in Genesis speaks of?

Is this true? Are we always irreducible, immeasurable? Or is this just a conversation to have in a broader discussion when contemplating humanity’s place in the cosmos? 

What about the workplace? What about when human worth is distilled into key performance indicators that then become the only thing measured, the only things that defines a person’s worth? What happens when our irreducible human value, this imago Dei is distilled to mere data points on business dashboards? To KPIs.

On one hand, nothing happens; we are still a complex mystery of God’s creation. We are still immeasurable, irreducible. We are imago Dei. On the other hand, something does happen to the person. Something sacred is expunged. Our infinite complexity like emotions, dreams, quirks, ideas, feelings, and virtues are reduced and transcribed into metrics and evaluated against random data sets. Perhaps this is where the shallow quip originates? “It’s not personal. It’s just business.” 

I mean I get it. In the business world, we are a metrics driven culture, quantifiable data points are seemingly the only identifier of worth. It drives the business, right? 

We read in our company handbooks that, “our people make the difference.” In reality, we all know that data is the true currency. It is here, I argue, that the soul gets buried beneath spreadsheets and the image of the divine is lost within a myriad of data sets. 

We must raise a quiet but profound rebellion. 

Our spirit of God’s very image that thrives in a mutual wonder and shared humanity cannot be replaced by a zero-sum race for higher scores. 

Ask someone at work “How are you doing?”, actually listen to them and engage, and only then ask, “How are you doing with your targets?” Metrics are important, but the person behind them is essential.  

When we become our job or when we think those we work with are defined only by how well they do their job, we are all vulnerable to this sacred loss. Our goal is not our job. Our purpose is not how and if we hit our metrics.  Instead, our sole aim should be to seek how to better understand this mystery of this life - this imago Dei - that we have been given and how to share it with others.  

This reminds me of the saying, "Not everything worthwhile can be measured, and not everything that can be measured is worthwhile."

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Work
5 min read

Heaven can wait: the gig economy can’t

Good Fortune skewers modern work culture with a celestial twist

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

A film character talks to an angel in the street who has wings on the back of his coat.
Aziz Ansari and Keanu Reeves star.
Lionsgate.

Good Fortune sees a well-meaning but rather inept angel named Gabriel meddle in the lives of a struggling gig worker and a wealthy venture capitalist, with unpredictable results.  

The film follows Arj (Aziz Ansari), a frustrated documentary editor who is unable to get any steady employment and has been relegated to working in the gig economy, bowing and scraping to all app users for fear that they’ll give him a one-star review. Arj has resulted to sleeping in his car and is only one step away from being completely destitute. After a short trial period working as a personal assistant for bumbling millionaire Jeff (Seth Rogen) that ends badly, Arj reaches the end of his tether. Out of the blue, an angel named Gabriel (Keanu Reeves) appears to Arj, trying to show him that his life has meaning. In order to convince him, he swaps Arj’s life of poverty for Jeff’s of luxury in an attempt to show him that having money won't solve all his problems. But unfortunately for Gabriel, it does solve most of his problems, and Arj does not want to swap back.                                                    

Aziz Ansari writes and directs Good Fortune, making his directorial debut. Unfortunately, while this film may promise a lot, it sadly fails to deliver. The social commentary is on point, but the laughs are spaced very far apart. It manages to accurately diagnose the problems that society faces, namely that the gig economy created by big tech has taken us back to Victorian levels of economic uncertainty for many people. But the prognosis somehow seems to lack any punch when it’s finally delivered. Good Fortune feels like a mix of Trading Places, a cynical version of It’s a Wonderful Life, with a touch of the sitcom Superstore thrown in for good measure. It wears its influences on its sleeve, but never really coalesces into its own thing. The one area it does flex its muscles is the performances.  

Ansari’s Arj voices the frustration of a generation when he says, "I did everything I was supposed to do and nothing's working out”. It is quite enjoyable when Gabriel asks him if he has learned that being rich and privileged isn’t all it’s cracked up to be, and Arj vehemently disagrees. Rather than learning any particular moral lesson, Arj has simply learned that it’s much nicer to be depressed in a mansion than in a hovel.  

Seth Rogen has the hapless privileged idiot down to a science at this point; there’s something cathartic about him seeing how difficult it is for people trapped in the gig economy. “This is too hard,” he despairs, “How do people do this, without just being miserable and angry, all the time?”  

Perhaps predictably, the stand-out performance is Keanu Reeves as Gabriel. Far from being a serenely wise archangel in this iteration, Gabriel is, by his own admission, a bit of a “dumb-dumb”. The film opens with Gabriel feeling frustrated in his current role, stopping people from texting and driving at the last possible moment. Gabriel feels desperate to change the course of someone’s life for the better. Gabriel’s meddling in Arj and Jeff’s lives is not looked on fondly by Martha, his superior (played by Sandra Oh). She makes Gabriel human as a punishment, sending him on a journey of self-discovery.  

After the weighty self-importance of the John Wick franchise, it is thoroughly enjoyable to see Keanu shifting into comedy mode. His Gabriel has a touch of his Bill & Ted performance, making him a naïve idiot who lights up the screen every time he’s on it. Seeing him enjoy tacos, milkshakes and ‘chicken nuggies’, simple pleasures that are so easily taken for granted, brings some much-needed levity to a script that doesn’t always manage to rise.  

In a sense, Good Fortune writes itself into a corner and can’t quite figure out how to get out of it. It feels like there’s a lot of time floundering around for an answer, which is frustrating, even at a brisk run time of 98 minutes. If there is any area that feels under-served it’s the sub-plot with Elena (played by singer and actress Keke Palmer). Serving as the love-interest for Arj, Elena seems to be the only one clear-eyed enough to see that systemic oppression requires an organised response, and is in the halting process of forming a union. Elena is the only one able to talk any sense into Arj when she says: “I’d rather be back down there, trying to help more of us get up here”.  

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