Article
Comment
Community
Hospitality
3 min read

Fairytale housing is building up new problems

Solve one social problem but don't cause another crisis.

Imogen is a writer, mum, and priest on a new housing development in the South-West of England. 

A CGI of a new housing estate viewed from above.
Home Builders Federation.

This time last year Labour promised 1.5 million new homes as part of its election campaign. Now plans are afoot to get these houses well and truly off the ground. New housing is seen as the salvific answer to one of Britain’s greatest social problems. The housing crisis sees rent-avoiding sofa surfers, impossibly high interest rates (except from the bank of mum and dad), and a scarcity of social housing.  

New builds are to the housing crisis what the fairy godmother was to Cinderella. Adequate and safe housing is an essential infrastructure for any society and is a fundamental human right. With an influx of new properties on the market, prices fall, social and affordable housing increases, and people are able to buy before their inheritance arrives. Families on housing waiting lists can live in a home somewhere they know. New housing offers Britons opportunities to find, purchase, and live in their forever, fairytale homes. In theory.  

It could turn out to be a nightmare. We are instead sentencing them to social and spiritual isolation. By focusing on building houses, we fail to meet the essential human need for community, social interaction, and connection. (Wo)man is not, and never will be an island. Building homes is not enough. We must also build communities.  

As we build community we safeguard against the epidemic of loneliness, segregation, and isolation

On new housing developments, organic community creation is challenging. Momentum is required to create communities. The government’s house building target does recognise the need for infrastructures such as doctor’s surgeries and schools. But these are not developers’ priorities. And they are also not enough to embed community into those new developments.  

Can you imagine your fairytale home without the corner shop for an emergency pint of milk? Or without the café for bleary eyed mums and babes? Or without the play park, pub, poo bin, and postbox? Can you imagine your happily ever after will be without a local hall for big birthday celebrations, for scout groups, and for Pilates? What about a church, with bells ringing out the universal soundtrack of Sunday mornings, offering a space to breathe, to pray, and to explore your own spiritual journey?  

We have recently moved onto a new housing development and have seen firsthand the need for community amongst these supposedly dream homes. We are also part of a new church here, writing a different story and weaving community throughout the development. Knowing our neighbours’ names and giving and receiving help are part of embracing social interaction. Our pop-up coffee bike is a place where people can gather and get to know one another around a nearly-expertly brewed beverage. This is the beginning of human connection within a community.  

But the church also offers a place for spiritual connection. New housing without the opportunities for human and spiritual connection leave residents on a cliffhanger. The church offers people another ending to their fairytale. Because the dream-like show-home does not become our own and we are left with the disappointment of reality. The story of Jesus speaks of miracles not magic wands, redemption not Red Riding Hood, the Prince of Peace not Prince Charming. In the void left by developers, Jesus can speak, the Spirit can move, and the church can show up to offer human and spiritual connection and meaningful community.  

Though these new builds may solve the housing crisis, they may also contribute to a crisis of community across our nation. But as we build community we safeguard against the epidemic of loneliness, segregation, and isolation. We imagine spaces into being so that community can flourish. Perhaps then we can look forward together to a different kind of happily ever after.  

Article
Character
Comment
Film & TV
5 min read

Traitors reflects an age of deceit and disappointment

Behind the game play, we're yearning for authenticity and connection.

Alex Stewart is a lawyer, trustee and photographer.  

A montage shows a Scottish castle, the host of the V show the Traitors and a dark scary scene.
BBC.

‘What a tangled web we weave when first we practise to deceive.’ 

Some people, it seems, are not cut out to be liars. I felt for Freddie, one of the last contestants to survive on The Traitors, who found out the hard way. A fumbled recounting of a fabricated conversation with fellow Traitor Minah was enough to seal his fate, and soon he too was banished from the castle. The sad irony was that until his last-minute recruitment as a Traitor, Freddy had in fact been a Faithful for most of the show, insistently proclaiming his innocence and now cruelly denied his chance of vindication. But that’s all part of the game: shifting identities and alliances mean nothing is at it seems, and trusting is fraught with risk.  

Part of the success of The Traitors is that it has very successfully tapped into a pervasive national mood: the feeling that we are constantly being deceived, misled, spun or manipulated. This is hardly surprising. Trust in politicians and institutions is at an all-time low, eroded by scandals, misinformation and truth dodging. From the Post Office and the contaminated blood scandals to the manipulation of unpalatable facts to the non-apologies of the guilty, the British public has become increasingly sceptical of those in power.  

The 2024 British Social Attitudes survey, conducted by the National Centre for Social Research, revealed that public trust in the UK's system of government has reached a record low, while a similar survey by the OECD reported that only 27 per cent of people in the UK reported high or moderately high trust in government, well below the OECD average of 39 per cent.   

But it’s not just politicians and institutions that we distrust. The new world of deep fakes, misinformation, and AI-generated content seems also to have had a corrosive effect on our ability to trust one another.  A recent CREST Insights report indicates that only 41 per cent  of respondents now trust their neighbours, while the Edelman Trust Barometer tells us that this distrust has, for some, moved from resignation to outright hostility, with one in two young adults approving of hostile activism as driver of change - including attacking people online and intentionally spreading disinformation.  

With this backdrop, it is hardly surprising that the contestants of The Traitors are susceptible to high levels of paranoia, and see Machiavellian deceit and betrayal as their only way to survive and have any chance of winning.   

But the human cost of betrayal is high and psychologically taxing. The constant need to fabricate stories, remember lies, and manage the stress of potential exposure requires huge cognitive and emotional effort. The effects are tangible as the contestants suffer variously from anxiety, paranoia, and emotional exhaustion.   

Meanwhile the building paranoia is stoked by regular invocations of the dark supernatural as cloaked figures and effigies shift the atmosphere from wink murder to The Wicker Man, and Claudia presides over proceedings with the authority of a pagan high priestess. Even the game operates within a quasi-religious framework of sin, confession, and punishment. Players who lie and deceive will eventually face judgment, from their fellow contestants and the millions watching at home

What appeared to be crocodile tears turned out to be genuine tears of despair as the demands of the game took its toll on her conscience and integrity. “I hate it. I hate how I was.” 

Although everyone knows it’s just a game, the prolonged deception has real world repercussions that continue beyond the show's end.  Many of the contestants struggled to reintegrate into their daily lives, facing challenges in rebuilding trust with loved ones and grappling with their actions during the game. The vicar, Lisa, told of the discomfort of having to explain away her absence on the show as a ‘retreat’, while the winners, Jake and Leanne, both said how difficult it had been to adjust post-show, pointing to a lingering paranoia and the strain of having to keep their victory a secret. 

And yet, while betrayal and deceit define the show, it is often the genuine friendships and moments of trust that resonate most. Few will forget the ‘mother to mother’ pact made by Frankie and Leanne in the kitchen and the emotional final banquet when the suspicion and distrust were briefly lifted. Behind all the game playing, the yearning for authenticity and connection as an antidote to isolation could not be suppressed. 

There are also inspiring moments of hope, vulnerability and redemption. Alexander, the charming diplomat, tells his heartfelt story about his late brother, who had developmental disabilities, which prompted his fans to donate over £30,000 to Mencap. Jake, who suffers from cerebral palsy, overcomes great odds to become one of the winners, and Leanne and Charlotte open up about their struggles to conceive. Each contestant had a back story that humanised them. Even the aloof high priestess herself shed tears, albeit in unaired footage, over her contestants’ traumas.  

But it was Charlotte’s struggles that I found most inspiring. As the final Traitor, she seemed at first to relish her role with a very convincing series of lies, even turning on her fellow Traitor Minah. But it became apparent towards the end that, inside, she was in turmoil. What appeared to be crocodile tears turned out to be genuine tears of despair as the demands of the game took its toll on her conscience and integrity. “I hate it. I hate how I was,” she said later. “I felt so cruel. How I had to be to stay in the game – it was an immense pressure.”   

Catharsis, when it came, was through forgiveness, especially from Frankie, the contestant who perhaps more than any other had reason to be hurt by Charlotte’s betrayal; they had after all been best friends within the confines of the castle. Charlotte later admitted to badly needing her forgiveness, which gracious Frankie was only too happy to give.  

In an age of deceit and disappointment, Charlotte’s honesty, vulnerability and willingness face up to her actions and be reconciled with her victims, rather than justify them or offer a hollow non-apology, and Frankie’s willingness to forgive - offer us the hope that there can be a way out of the doom loop of deceit and broken trust.   

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