Column
Culture
4 min read

Depreciating human life: a year-end market report

The cold currency of trading hostages repels George Pitcher, who explores the casual acceptance that some lives are biddable against lives of intrinsically higher value.

George is a visiting fellow at the London School of Economics and an Anglican priest.

Three men huddle around a laptop and talk animatedly.
Israel's Prime Minister monitors the recent hostage exhchange.
Prime Minister's Office, Israeli Government.

There is something peculiarly horrific about the barter of Israeli hostages held in Gaza by Hamas for Palestinian prisoners in Israel. And it isn’t only the unimaginable suffering these innocent civilians have to endure somewhere on an unknown scale between life and death. 

It’s also that their lives are reduced to their commodity value. Hostages are assets to be traded in the market for peace, not human beings. It’s difficult to write this, but it’s almost as if three dead hostages, including a 10-month-old baby, said to have been killed in an Israeli airstrike, have lost their asset value. These ones are no good – they don’t work anymore.  

Negotiating the release of hostages for peace terms is as old as the Hebron Hills. An Egyptian pharaoh once released his enslaved Israelites to Moses in return for the lifting of the plagues being inflicted on his people. But there is something of the neo-liberal free market in the way that post-modern conflict resolution uses human life as a currency of exchange. 

Ryan Gilfeather wrote excellently here how this material valuation offends against the human dignity in which the divine invests. The imago dei that humanity bears, if you like, is not to be reduced to a bounty, a financial liability or an asset value. 

As a consequence, human life is tradeable. Yes, it has value, but its share price can fall as well as rise.

I’d want to take that a step further, to ask how that depreciation has come about with such ready acceptance and to note a couple of instances where the mentality of the trade in human existence has become a natural process of marketing.  

The attitude, I think, has its roots in the Enlightenment of the 17th and 18th centuries. Don’t get me wrong: This is no censure of progressivism. Universal literacy, healthcare, scientific endeavour and the birth and growth of democracy are all very good ideas indeed. But the Enlightenment also brought the capitalist mindset to almost every area of human existence. Our lives, in many contexts, became actuarial.   

This is not my idea. The great, perhaps the greatest, Christian mind of the 20th century, C.S. Lewis, railed against how Fascism and genocide were the bastard offspring of our common-law marriage to progressive thinking, in that traditional values of human existence were now only there to be debunked.  

I am indebted to Lewis’s biographer, A.N. Wilson, for this. In Lewis’s book, The Abolition of Man, he writes of “The belief that we can invent ‘ideologies’ at pleasure, and the consequent treatment of mankind as mere specimens… begins to affect our very language.’ 

Lewis was no white-knuckled reactionary, but he did recognise that the values and virtues of ancient religious thought were binned at humanity’s peril. We had begun to understand the price of human life, rather the the value of it. 

This is not to suggest for a moment that the ancient world was a nirvana (or even a Narnia). The Garden of Eden was lost at the beginning of time, not at the Enlightenment. Brutality, slavery and cruelty are part of our post-lapsarian world. 

It’s just that religious virtue used to be a bulwark against such things. As a consequence, human life is tradeable. Yes, it has value, but its share price can fall as well as rise. By the 21st century, we can look behind us to see how that has played out. Allow me to elucidate a couple of examples of how casual is our acceptance that some lives are biddable against lives of intrinsically higher value.  

The first is the almost clownishly implemented government policy proposal to redeploy migrants to the UK to Rwanda. Almost clownishly, because it would be funny if it didn’t involve a trade in human misery, the idea that desperate people endangering their lives and those of their families in small boats can be made someone else’s problem to sort out, simply by looking away. These people are worthless, you see, because they are not us and only we belong here (whoever “we” may be). The idea is that we pay Rwanda per capita to take them, rather as we might send our plastic refuse to China for landfill. 

A second example of merchandising human life I would cite are the repeated attempts to have assisted suicide, or voluntary euthanasia, legalised in the UK, rather than enhancing palliative end-of-life care. These proposals depend entirely on the state legislature endorsing that some human lives aren’t worth living and are disposable.  

At base, it’s the same principle as the Rwanda policy, other than we’d be killing them, or assisting them to kill themselves, rather than disposing of them in a central African waste-bin. 

These are the “anythings” that humans believe in when they stop recognising the sanctity of human life. The value equation used for Gazan hostages is on the same continuum as the human trafficker and the politician who tries to stop him, or the calculation of the cost to the state and their family of a terminally ill patient offered an alternative way out. 

It’s just that these equations have become invisible to the naked eye. We don’t see them anymore. But, I’d suggest, for Christ’s sake we’d better start looking. 

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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