Article
Culture
Identity
Psychology
Work
5 min read

Even the office can be a place for self-discovery

What the office makes us feel about ourselves
A model of an office desk and shelves, at which a green plastic person sits leaning into the desk.
Igor Omilaev on Unsplash.

The realisation strikes me as I wrestle to fit my key into the lock on my office door: today I have no memory whatsoever of my journey into work. At my usual time I left the house and got in my car. I drove my usual route to my usual parking space and hopefully I stopped for all the red lights – but in truth I can’t remember any of them. Nor can I remember getting out of my car, locking my car (I hope I did that too) or walking from my parking space to this door, the lock of which is still failing to yield. This, I then realise, is because I am absent-mindedly trying to unlock it with my car key. Rolling my eyes, I reach into my pocket for the correct key… and it is not there.  

Now I’m awake, glancing at my watch; 50 minutes until my first meeting of the day (online). This is enough to drive home again, but not enough to drive home, collect my key, and return to this frustrating door. By now I have established that both coat pockets are empty, so I drop to my knees and start to rummage through my bag.  

It’s not a disaster if I do have to drive home, I can simply stay there and have a WFH day. I am fortunate, in my current job, to have the privilege of deciding this on a day-by-day basis. Many, I know, would love to work from home but do not have the option, but I prefer the office. The smell of black coffee, seagulls yakking on the roof. Doors open and close as colleagues come and go, keyboards tap, and on and off there is distant hum of student voices emanating from a classroom downstairs. In the hive of activity, I hum too, and I definitely get my work done more efficiently.      

I’m interested to analyse this phenomenon through the lens of place attachment. There is a considerable body of research that investigates the way people feel about the spaces that they inhabit – that certain places become meaningful places to be in. Place attachment theorists explore how we can have relationships to places in much the same way that we have relationships to people – feeling a strong pull to return to the familiar, disliking change, and feeling ‘homesick’ for places where we have a strong emotional attachment. Of course, this is usually discussed in relation to the natural world, or to one’s childhood home, or ancestral lands… but why not of the office? Because the heart of place attachment is not really how we feel about places, but how places make us feel about ourselves.  

Either for good or for bad, in the office one inhabits a certain sense of self – maybe not a different self to the one that we are at home – but at work, different aspects of that self are valued differently and are allowed to come to the fore. Perhaps I feel this especially because I am a working mum – it can be a relief to leave the home each day and come to inhabit a space where I am valued for more than my ability to know whether or not it’s PE today, or if there’s milk in the fridge. In the office, I can dwell in a version of myself that I enjoy – one that is paid to think and to write and to teach, a part of the university hum.  

George Pitcher, in his recent article for Seen & Unseen, challenges managers to ask themselves why they are opposing more junior staff working from home. His discussion hints at this same phenomenon of places shaping identities, and Pitcher proposes that managers might resent junior staff working from home, at least in part, because they feel like their identity as a manager is compromised when they cannot sit in their glass-walled office, gazing out over the rows of worker bees, queen of all they survey. As Pitcher puts it, “…if staff aren’t in the office, then what’s the point of being a boss?” 

The Bible too engages with the interplay between one’s sense of self and one’s sense of place. In the Old Testament, before the birth of Jesus, prophets and hymn writers spoke longingly of their homelands, and especially of the temple where they gathered to be assured of their identity as the people of God. “How shall we sing the Lord’s song in strange land?” cries one hymnwriter, exiled far from home, while another writes of how he longs to dwell in the House of the Lord all the days of his life. With this sentiment I can empathise; just as I feel like more of a worker-bee when I am within the hive of the university, I feel I am much more of a Christian when belting out hymns among the Sunday throng than I am among my colleagues at a Monday morning meeting. 

And yet the Bible issues a challenge to me here. Because after the Old Testament comes the New, written after the life, death and resurrection of Jesus Christ, and largely after the destruction of the great “Second Temple” that Herod the Great had built in Jerusalem. With the temple gone, and the region subdued under Roman overlords, the New Testament writers make frequent allusions to Christian believers themselves being temples – temples of the Holy Spirit. This means that, as a Christian, I am urged to think of myself as a “place” of God’s presence in the world – and not just for my own sake but for the sake of others. I am not just part of the hum; I change the hum by being in it. The challenge is to gently bring the notes of my Sunday morning hymn to my Monday morning meeting.  

A long time ago, when I was a little Brownie-Guide, we used to sing a campfire song called “Bees of Paradise.” It was very short and simple:  

Bees of paradise, do the work of Jesus Christ 

Do the work that no one can.  

As a child, I never understood the words, although I enjoyed the pretty little tune that we sang it to, in the round. It comes back to me now, as I rummage in my bag for a key that I know I’m not going to find, and I return to my childhood habit of pondering the lyrics. 

I’ve only got 40 minutes now until my first meeting of the day, it’s time to give up and drive home. Turning resignedly back down the stairs, I resolve to be no less a worker-bee at home than I would have been at the office today. And no less of a Christian either.  

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Review
AI
Culture
Film & TV
4 min read

Ethan Hunt is MI Jesus, and it’s ridiculous

The final instalment of Mission Impossible warns about AI, yet plays out as if written by a chatbot.
Tom Cruise playing Ethan Hunt in an open necked shirt looks perplexed.
Tom Cruise in action.

Is this the FINAL reckoning? I’m not sure. I hope so. There has been speculation whether Tom Cruise will reprise his role as Ethan Hunt in further franchise instalments. He has expressed interest, while also suggesting that the use of the word ‘final’ is purposeful and indicative. Let us all pray that he’s being honest. I mean…he must be exhausted. The stress and strain, the pressure and pain, that he puts his body through for every Mission Impossible film is approaching elder abuse – he is 62 after all. 

In a departure from tradition, Mission Impossible: The Final Reckoning is an immediate sequel to Mission Impossible: Dead Reckoning, which released in 2023. The series which has thrived on a formula of releasing stand-alone spy stories, allowing us to enjoy familiar characters in new scenarios, has decided to make a two-parter…although you wouldn’t know it. You don’t need to have seen Dead Reckoning to pay your money to watch Final Reckoning, as the script assumes you’ve not only missed the immediate prequel, but have never viewed any other Mission Impossible film.  

Goodness me, the film is plodding. It begins with a message from the President (Angela Bassett), delivered to Cruise’s super-spy Hunt. In previous instalments such messages have been a punchy way to set the stakes, roll the pitch, and then give the rest of the screen time over to remarkable action set-pieces. On this occasion we have an interminably long, and irritatingly portentous, monologue detailing why Ethan Hunt is the best of spies, the best of men, and essentially MI Jesus. The only man who can save the world from a literal apocalypse.  

The premise of the film is that the malevolent, power-hungry AI known as ‘The Entity’ (could no one have thought of a better name, REALLY!?), which Hunt failed to stop in the previous film, is now at large and tipping the world towards destruction. It is manipulating the media, gaslighting governments, and slowly infiltrating the nuclear arsenals of the world, all in preparation to annihilate most of the human race in a nuclear holocaust. It then plans to rule the remaining vestiges of humanity and create a new utopia for itself. Only Ethan Hunt can stop it…just as long as he convinces world leaders to trust him, finds the nuclear submarine where ‘The Entity’ originated, defeats hundreds of bad guys, and infiltrates a top-secret bunker in South Africa. 

We’re a world away from the lean and mean story of the first MI, where we only had the identities of CIA assets at stake! 

Its rubbish. Genuinely rubbish. 

The script is ripe. Nay! It is overripe. NAY! Burn the whole house down, because the brie has grown limbs and the fruit bowl is plotting your death. Every other conversation involves either Cruise pontificating on how the only way to defeat ‘The Entity’ is love and trust and the age of Aquarius, or someone explaining to Cruise how this mission is his destiny, because only he is good and pure enough to succeed. He’s MI Jesus, and it’s ridiculous. 

The film plods and plods and plods. The whole point of this franchise is to provide the viewer with regular, breath-taking action, and yet the first hour-plus is a litany of exposition and call-backs. Ethan travels to several European capitals, for about thirty seconds apiece, before formulating his plan. This is confusing and jarring, but to add to this pain, the audience is tortured with disorienting, quick-cut montages of Hunt’s previous adventures. The plot seems to be determined to link this final, world-ending catastrophe to his past escapades…except MI2…no one has love for that. 

Unfortunately, all these positives are packaged in such a self-aggrandising and cack-handed manner as to be rendered inert.

By the time the action really kicks in I was exhausted and in no mood. This is a shame, because the action is truly spectacular. A long sequence in a submarine – which is both well below safe diving depth, but is also slowly falling of an underwater cliff. A breath-taking fight between two biplanes. Gunfire galore. I recognised its brilliance on an intellectual level, but enjoyed none of it. I was too damned bamboozled by over an hour of nonsense beforehand. 

The performances are fine. Cruise is the last remaining true action star, putting himself through a gruelling regimen to ensure he performs his own stunts. This shows on the screen and is very much appreciated and commendable. Simon Pegg returns as Benji to provide the comic relief. Ving Rhames’ Luther has a brief appearance which is bitter-sweet and lovable. Henry Czerny and Rolf Saxon are delightful additions – the only call-backs to the first film which don’t irritate, and actually elevate the film. 

Mission Impossible: Final Reckoning is fine. It is serviceable. It delivers the heart-stopping thrills. It has timely theme: of what true humanity and human relationship is in a world dominated by AI, technology, simulated reality, and simulated interaction. This is all good. Unfortunately, all these positives are packaged in such a self-aggrandising and cack-handed manner as to be rendered inert. For a film whose story serves as an (admittedly histrionic) warning about the dangers of AI, it plays out as if designed by chatbot. 

The Mission Impossible films have always been a vehicle for Tom Cruise. This has been their greatest strength – he is the last true movie star after all, and we may never see such a charismatic and powerful screen idol again. This has also been their greatest weakness. What a shame this only became apparent in the (potential) final outing. 

  

2 stars. 

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