Snippet
Ambition
Change
Digital
Economics
Work
4 min read

Don’t just hustle or quietly quit. Work hard at rest

Here’s what BrewDog's CEO doesn't get about work-life balance.

Callum is a pastor, based on a barge, in London's Docklands.

A man lies asleep on a closed lap top on a desk.
Vitaly Gariev on Unsplash.

 

Is work-life balance just an excuse for people who hate their jobs? James Watt, the CEO of BrewDog, seems to think so. But is his vision of work-life integration the solution - or a recipe for burnout? Recently, Watt faced criticism for claiming that work-life balance was "invented by people who don’t like their job." Instead, he advocated for work-life integration, arguing that if you enjoy your work and want to achieve, it won’t feel burdensome to be constantly "switched on."

Watt is correct in some respects: extraordinary achievements often require extraordinary focus. Hard work can be immensely satisfying, providing purpose, goals, and rewards. However, Watt’s perspective lacks nuance and risks promoting a culture of overwork.

Work-life integration, as portrayed by Watt and his fiancée, Georgia Toffolo, revolves around relentless focus on achieving goals, coupled with a willingness to make significant sacrifices. It means finding a partner who champions your ambitions while relentlessly pursuing their own. For Watt and Toffolo, this appears to work—they seem to thrive as part of the privileged minority who genuinely enjoy every aspect of their work. But when viewed realistically, their vision of work-life integration paints a bleak picture. It involves checking emails during family meals, taking calls while driving, scheduling loved ones around work, and sacrificing whatever doesn’t fit. As Watt illustrated in his social media post, referencing figures like Sir Tom Hunter visiting sports stores with his children or Sam Walton working in his warehouse on Saturdays, this isn’t about integrating work into life - it’s about subordinating life to work.

In many ways, the hustle culture that Watt embodies mirrors modern unrealistic beauty standards. Just as social media often promotes unattainable images of physical perfection, Watt’s idealised version of work-life integration advocates a way of life that leaves little room for other forms of hard work - relationships, parenting, creativity, or rest.

The backlash against Watt was swift, and Gen Z’s ‘quiet quitting’ movement has been lauded as a counterpoint to this culture of overwork. By prioritising mental well-being and relationships, quiet quitters resist the idea that their entire identity should be tied to their job. However, they too risk missing the point. A reactionary disengagement from work, while understandable, does not offer a holistic vision of life where every area - work, rest, relationships - receives the effort and attention it deserves.

Work - life balance isn’t about doing the bare minimum at your job or resenting periods of intense work. It’s about recognising that work is one part of life, and other areas - relationships, hobbies, rest - demand hard work too. The challenge, then, is not to reject work but to embrace the harder, more deliberate work of rest.

A radical alternative: working hard at rest

What could a meaningful alternative look like? It might involve working hard at work, yes, but also working hard at rest.

As a vicar in Canary Wharf, one of London’s financial hubs, I regularly see young professionals wrestling with the tension between ambition and rest. They understand the demands of their careers and the effort required to achieve extraordinary goals. But they also grapple with the reality of burnout and the importance of mental health. Watt’s vision of work, without clear boundaries, poses a danger: the mental load of being "always on" accelerates burnout and diminishes the joy of achievement.

The biblical concept of Sabbath offers an ancient yet powerful antidote to the demands of both overwork and disengagement. It reminds us that work is good, but so is rest. By intentionally organising and prioritising rest, we resist the cultural pull of constant hustle and grind. Taking one day each week to step away from work entirely—no emails, no calls, no productivity—becomes an act of resistance.

Sabbath rest allows us to engage deeply with other areas of life. It provides the space to focus on relationships, creativity, and renewal without the constant demands of work encroaching on every moment. This doesn’t mean filling the day with endless activities—brunches, housewarmings, and run clubs are good, but Sabbath also requires intentional space for rest and reflection. In ancient farming societies, Sabbath for the land meant leaving fields unplanted, allowing them to regenerate naturally. The same principle applies to us: regular rhythms of rest make us healthier, more focused, and more productive when we return to work.

Seeking balance while recognising that work is part of life isn’t a sign of weakness—it’s wisdom. Sabbath rest isn’t a retreat from ambition but a way to ensure our goals don’t overshadow the rest of life. Success isn’t just about professional achievements; it’s about thriving in every area - work, relationships, creativity, and rest.

What if rest wasn’t a sign of weakness but a declaration of what truly matters? What if success meant working hard, not just at our jobs, but also at rest, relationships, and the things that bring us joy?

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Review
Culture
Film & TV
Monsters
4 min read

How to do the Devil’s work in modern America

The Bondsman ‘literal evil’ fits so easily into today.

Giles Gough is a writer and creative who host's the 'God in Film’ podcast.

A bondsman looks to a colleague.
Kevin Bacon and Jolene Purdy star.
Amazon Studios.

The Bondsman looks like the kind of story we’ve seen many times before, but look closer and you’ll see some fascinating insights.  

The show dropped on Amazon Prime last Thursday, starring Kevin Bacon as murdered bounty hunter Hub Halloran, who is resurrected by the Devil to hunt demons that have escaped from the prison of Hell. Hub learns how his own sins got his soul condemned, which pushes him to seek a second chance at life, love, and bizarrely enough, country music. 

After being murdered in an all-too visual pre-credits sequence, Hub is resurrected, and after seeing some supernatural horrors he can’t explain, Hub is quickly sent chasing down those demons with the help (and often hinderance) of his mother played by Beth Grant. They receive instructions on which demons to capture via fax. The demons are suitably unsettling, with their red pinprick-of-light eyes and gravity defying leaps. As scary as they are, they are also helpful enough to get themselves killed with conventional weapons and burst into flames as soon as they die, saving Hub the inconvenience of having to dispose of the bodies.  

In the first few episodes, it would be easy to dismiss The Bondsman as schlocky genre fiction. Kevin Bacon easily leans into the laconic, foul-mouthed cynic, more comfortable with ultra-violence than discussing his emotions. The Southern Gothic is an aesthetic we’ve seen in more Amazon Prime shows than we care to remember at this point, and the gore is at the level you would expect from horror experts; Blumhouse, and the setting of rural Georgia, is reminiscent of The Walking Dead. You could be forgiven for leaving this show at the pilot and not returning to it. But if you can make it through the formulaic first few episodes (which are mercifully short, 35 minutes at the longest) your patience is likely to be rewarded.  

For any viewers familiar with Angel or Constantine, the idea of a hero who fights evil but is still damned to hell for their past actions, is well worn territory. But if we look at Hub’s ‘co-ordinator’ Midge (Jolene Purdy) we get a small insight into the banality of evil. Midge is coerced into selling her soul to the devil in order to save her dying infant son. This highlights how often people are drawn into corruption because they were forced to pick the lesser of two impossible evils. As Midge’s own ‘co-ordinator’ tells her: “The fastest path to hell: selling your soul to help someone you love”. Midge’s son is ‘miraculously’ healed, so long as she continues to meet her quota of convincing people to sell their souls. It seems the devil has a better health plan than corporate America. 

Those subtle jabs at corporate America make the show quietly subversive. The devil’s minions here appear as the ‘Pot O’ Gold’ company, a slimy operation that preys on the weak and perpetuates misery in order to benefit a faceless boss. What’s interesting is how ‘literal evil’ fits so easily into the model of a capitalist corporation. Whilst many US politicians may decry the evils of socialism, it seems that as far as evil in America in The Bondsman is concerned, the call is coming from inside the house.  

It's true that God is largely absent from this story. In the same way that competent, protective parents are absent from children’s novels. If he was present, that would undercut a lot of the narrative tension. Despite this, it’s interesting how even in a world where characters reference and believe in the existence of God, virtually none of the characters think to pray or ask for his help. It brings to mind the C.S. Lewis quote about how “the doors of hell are locked on the inside". 

This might possibly be the show’s greatest contribution. What we can see from The Bondsman is God in the inverse, a negative image. Instead of the hope of an eternal life, they’re faced with the numbing despair of lasting torment. Hub and Midge are sent out on missions by a faceless, uncaring ‘boss’ rather than a loving intimate father, forced into being corporate co-workers rather than found family. Once it moves past the adolescent gore-for-gore’s sake of the first few episodes, it seems The Bondsman might have a fantasy world worth exploring. 

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