Article
Comment
Leading
Politics
4 min read

Covid inquiry: Johnson, Cummings, and the cost of refusing to grieve

The report exposes mistakes, but our real challenge is learning how to face loss without denial

Jonah Horne is a priest, living and working in Devon.

Boris Johnson sits, giving evidence to an inquiry.
Boris Johnson giving evidence to the inquiry.
UK Covid-19 Inquiry.

I distinctly remember the sheer confusion of January to March 2020. Should we flee our flat in London? Should we cancel the lease on our workspace? Will I be able to continue breakfast with my friend on Thursday mornings? I ignorantly scoffed that a lockdown could conceivably take place and then, stood devastatingly corrected only a few months later. However, the UK Covid-19 Inquiry reveals that this ignorance induced confusion was not restricted to the personal level but instead enacted on a national stage. 

What’s glaringly obvious as you read the recommendations is that the government acted too slowly and too indecisively. If the initial restrictions been introduced sooner, say in January or February, the first lockdown “might have been shorter or not necessary at all.” This, the report suggests, could have saved approximately 23,000 lives. Brenda Doherty, of the Covid-19 Bereaved Families for Justice group, believes her mother could have been one of these. Instead, she and her sister stood by her graveside in March 2020 as her family members waited a few metres back sectioned off by red tape. The report and accompanying evidence call for sombre reading. 

In response, those in charge at the time have understandably launched an attack in their own defence. Boris Johnson has labelled the inquiry "totally muddled,” which ironically sounds like the informal conclusion of his leadership in the report. Similarly, Dominic Cummings has hurled a 2,000-word response into the social media stratosphere, which feels almost as long as the 800-page paper itself. 

What seems glaringly obvious about both men’s responses is the very thing Brenda Doherty displays with such elegance: grief. There is, in these men’s retorts, a stunning omission of any sense of responsibility or indeed any willingness to admit defeat. And what frightens me most, as we look towards the future, is our refusal to grieve over the things of the past. The threat on Europe from Russia is growing. AI’s disruption on our workforce seems to be being enthusiastically brushed aside. And another, potentially much more violent, pandemic is unsettlingly likely. 

However, in the face of these disruptive forces grief is a remarkably generative power. Without grief we remain, much like Johnson and Cummings, frozen in time. Immovable in our ineptitude and ignorance. Grief, I’d argue, is the very thing that enables us to recognise our shortcomings and, when mixed with hope, energises us towards a future which lies on the other side of sorrow. Yet, when we exist in a place of fragility, the idea of imagining that life lies beyond my incompetency, if only I grieve it, is frightening. Devastatingly though, for us humans, this may be the only way to learn and move forward.  

Our future and redemption is undeniably bound up in our ability to grieve. Grief is inherently futural. By grieving our ineptitude, we inevitably witness to the places that require growth, mercy and grace. When we fail to grieve, we remain frozen in time—precariously hiding behind the illusion of our infallibility. This is a deeply fragile state. From this position, any assault or critique on our mistakes becomes a personal attack rather than invitation to redemption. We find ourselves lashing out in fear, terrified of being exposed. Johnson and Cummings embody this predicament to a tee.  

This situation however is not unique to the Covid iquiry and our late-prime minister’s response. Another character who lashes out in fear is St Peter, one of Jesus’s friends and disciples. There is a rather poetic story that illustrated this at the end of John’s gospel in the New Testament. One of Jesus’s friends Peter rejects him as he’s taken to be murdered. Peter attacks a guard, cuts his ear off and Jesus famously disarms him and heals the man. Moments later, Jesus is taken, Peter flees and we find him standing in a courtyard, by a fire and where claims not to know his friend and master Jesus. To make matters worse, he rejects him not once, but three times. However, when Jesus returns from the grave, he meets Peter again, at a fireside on a beach, and asks him “do you love me?” Not once but three times. The thing that I think is particularly remarkable about this meeting is that Jesus recognises Peter’s future in bound up in the redemption of his past mistakes. Jesus takes Peter to the place of failure, a fireside, and gives him an opportunity to declare his allegiance and love for him, the same amount of times he had rejected him. He reminded him of his wound to heal him for his future.  

If we are to take seriously our response to the Covid-19 inquiry, we must take responsibility for our errors. Not begrudgingly but with a grace filled grief. Our future, one that is filled with hope, does not come to us without a confession of past errors. Instead, a hopeful future may only come to us when we confess, recognise and grieve our mistakes. Indeed, to freely grieve over my failures is to grieve believing in life beyond my defeat. 

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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 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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Since Spring 2023, our readers have enjoyed over 1,500 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.

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