Article
Culture
Film & TV
Politics
6 min read

Fear of the news means it needs to change

Here's how to rethink reporting.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A news cameraman holding a camera, stands back to back to a police officer.
Waldemar on Unsplash.

Several non-journalist friends have told me over the past few years that they have started to disconnect themselves from the news - in some cases entirely - so wearied have they become by the incessant gloom of our reporting.  

Meanwhile, new research from the Reuters Institute has found that people have been “turning away from the news” consistently across 17 countries tracked over the past decade - from the US to the UK, Japan to Brazil. 

And one of the primary reasons, the researchers discovered, is the “fatigue and overload” of negative news. 

Another factor was the declining trust in the media, which has again been something I have heard consistently from friends in recent years, with many telling me they are constantly reassessing who they turn to for news. 

Perhaps that is only healthy, but both trends suggest to me that there may be a problem with the way news currently is, and the effect it is having on us. 

One of the most regular examples of the “bad news” we journalists tell is the reporting of terror attacks, but whenever I hear news of an attack - whether here or elsewhere - I think not only of the immediate victims and their loved ones, but also those who may soon become victims by association. 

Perhaps the most obvious recent example here in the UK was the case of the Southport stabbings, a shocking incident that led to understandable - albeit misguided - outrage. 

As soon as it emerged that a “foreigner” - or at least someone who sounded like they might be a foreigner - was responsible, many jumped to the conclusion not only that he was an Islamist but also probably an asylum-seeker, and an illegal one at that. 

It later transpired, of course, that the 17-year-old who carried out the terrible attack had been born and raised in Wales - to “Christian” parents, no less. So not an asylum-seeker, after all, nor even a foreigner; and even though it later became clear that he had downloaded disturbing content including from Al-Qaeda, his inspiration seemed to come from a wide range of sources. 

Here was another example, our prime minister told us, that showed “terrorism had changed” and was no longer the work only of Islamists or the far-right but of “loners” and “misfits” of all backgrounds, common only in their sadism and “desperat[ion] for notoriety”. 

And yet, in the Southport case and no doubt many others, by the time the killer’s background and likely motive finally became clear, the horse had already bolted.  

In that particular case, the reaction was especially extreme, with mosques and refugee hotels attacked as part of widespread rioting. But even when there are no riots after such an attack, there can surely be little doubt that the minds of the wider British public will have been impacted in some way by the news. 

For some, perhaps the primary response will be increased fear - in general but also perhaps especially of those different from themselves. For others, on top of fear, might they also feel increased hatred, or at least mistrust? 

And such feelings will surely only increase with every new reported attack, especially when the perpetrator appears to be someone new to these shores, and even more so, it would seem, if it is an asylum-seeker. 

To ignore the reality that many attacks have been carried out by asylum-seekers in recent years is to ignore reality. But for those of us desperate not only to prevent the further polarisation of our society but also to protect the many legitimate refugees who wouldn’t dream of committing such attacks, what can be done? 

Perhaps it’s only because I’m a journalist, but in my opinion one major thing I think could help arrest the current trend would be for us to rethink the way in which we do news in general.  

Not in order to mislead the public or pull the wool over their eyes - if bad things keep happening, they must be reported, as must the identities of the perpetrators, as well as any trends in this regard - but by way of providing the necessary balance and context.  

For example, by looking into what percentage of attacks - here or elsewhere - have been committed by Islamists, foreigners, or asylum-seekers; or considering what percentage of the total population of such groups the attackers represent, and how this compares to statistics regarding other groups. 

The question we journalists - and those who read our words - need most to ask is whether we are doing a good job of informing the public about the world they live in. 

Might it also be helpful to undertake a general reconsideration of what constitutes news? Does, for example, bad news always have to reign supreme in the minds of those who curate our news cycle?  

A decade ago, I had it in mind to create a new app or perhaps even news service dedicated to rebalancing the news, such that bad news stories wouldn’t outnumber the good. Many others have had similar ideas in recent years, and several platforms have been launched, dedicated to the promotion of “good news” stories. And yet one could argue that such platforms risk being as unrepresentative of reality as those that tell only bad-news tales. Can’t a compromise be found? 

One of the first things you learn as a journalist, other than that sex sells, is that greater numbers of deaths, and especially those of children, always constitutes headline material. And one needs only to flick through today’s major news outlets to see that this practice remains almost universally upheld. But does it have to be so?  

And why is it that some conflicts and injustices will make our headlines, while others won’t?  

Take, for example, the Sudanese civil war or the recent beheading of 70 Christians in the Democratic Republic of the Congo. Why is it that these horrors don’t make our headlines, while tragedies in Ukraine or Gaza do? Who makes the call, and for what reasons?  

Another long-established principle in journalism is to consider first and foremost who your audience is. So, for example, when writing for a British audience, to consider what might be of most interest to Brits. Are Ukraine and Gaza, for example, simply more relevant to British interests - in both senses of the word - than what is happening in the Global South? And even were that to be true, just because such principles of journalism are long-established, must they remain unchallenged? 

At its core, journalism is about informing, so in my opinion the question we journalists - and those who read our words - need most to ask is whether we are doing a good job of informing the public about the world they live in.  

And in my view, while a lot of good journalism is of course being done, the question of whether the public are receiving a representative picture of their environment is less clear.  

Whether or not the best approach to redress the balance is to dedicate whole news services to telling good-news stories, there’s surely little doubt that such stories are chronically underreported.  

And if our duty is not only to inform but also, by virtue of that, not to mislead, mightn’t it be argued that in failing to sufficiently well inform society about the real state of our world, we are in fact misleading them? 

No-one wants to end up in a Soviet-style “paradise” in which murders are simply denied in order to maintain the status quo, but nor, surely, do we want to live in a world in which people become unnecessarily fearful and hateful towards others, in part because of the news we feed them. 

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Review
Culture
Film & TV
Mental Health
4 min read

Pluribus and the problem with “Good Vibes Only”

When only misery can save the world

Joshua Bloor is a pastor, author, and New Testament scholar. 

A passenger oeers out and down the aisle of an empty plane.
Rhea Seehorn stars.
Apple TV.

Imagine waking up to discover that the whole world is suddenly happy and whole. Overnight, an alien virus has swept the globe, and its effects are astonishing: everyone joins a single joyful hive mind. Everyone is connected. Content. At peace. The anxious inner voice that once whispered fear and worry is hushed. Humanity, it seems, has finally found contentment. 

Except, there’s one problem. 

You’re immune. 

While everyone else partakes in this glee, you remain fully yourself. Still anxious, still low, still wrestling with the angst of life. To make matters worse, you’re surrounded by legions of the blissfully enslaved. You’ve never felt more alone. 

At first glance, this premise sounds strange, maybe absurd. Yet Pluribus (Latin for “many”), from Breaking Bad creator Vince Gilligan, is devastatingly insightful. Carol Sturka, portrayed with raw emotional precision by Rhea Seehorn, is the most miserable person on Earth.  

During “the Joining,” everyone else is absorbed into a harmonious hive mind who self-identify as “we.” They remain fully functional, thoughtful, and emotionally engaged human beings. They are hardline pacifists, utterly convinced they are liberating humans from conflict, negative emotions, and ultimately, from themselves. In their eyes, they haven’t lost anything. They’ve simply traded their individual suffering for collective contentment. Finally, humanity has become what it was always meant to be—happy! Except they can’t quite figure out how Carol, and a few others, remain unchanged. 

Oddly, Carol’s incapacity for happiness becomes humanity’s final hope. Her depression, the very thing that weighs her down, is now her superpower. Carol’s misery makes her immune, yet the challenge she faces is unique: How can she convince people they need saving when they’ve never been “happier”? 

Many of us are taught from childhood to avoid sadness— “Cheer up, you’re fine.” In a world of inspirational quotes and booming wellness industries, sadness feels wrong. Yet valuing only positive feelings sets an impossible standard. People end up feeling like they must avoid sadness at all costs. It’s no wonder many of us feel ashamed or anxious when we have a bad day. Like the Pluribus hive-mind, cheerfulness is mandatory, and anything less is seen as “broken.”  

Ironically, studies show that the societal pressure to feel happy (and never sad) is linked to poorer mental health. Neuroscientists have found that when children grow up in families where emotions aren’t named, noticed, or welcomed, it actually shapes how their brains develop. The regions responsible for managing feelings and handling stress don’t grow as strongly as they should. 

When parents respond to a child’s emotions—comforting them when they cry, delighting when they’re happy, sitting with them when they’re sad—it has the effect of watering a garden. Those emotional pathways in the brain strengthen, deepen, and flourish. 

But when feelings are ignored, dismissed, or shut down, it’s like a garden left unwatered. The soil dries. Growth stalls. The neural pathways that support healthy emotional regulation don’t develop in the way they were meant to. 

The long-term impact can be significant. Children who aren’t allowed to express their feelings often grow into adults who struggle with anxiety, depression, or chronic stress. Their nervous systems learn to stay on high alert, and regulating emotions becomes much harder than it should be. 

Sadness in fact reminds us of what truly matters and what gives our life meaning. Far from being purely negative, it can ground us, deepen empathy, and make joy feel more genuine. Hiding or suppressing sadness actually intensifies it; what psychologists call “amplification.” 

Feeling happy, then, is not life’s goal, human flourishing is; living well and doing well. The ancient Greeks had a word for it, eudaimonia, often mistranslated as “happiness” but better understood as “flourishing” or “living the good life.” This way of living life and flourishing includes struggle and growth. 

This is where Pluribus makes a dramatic point. By eradicating personal pain, the hive mind also erases depth of feeling. Humanity gains perpetual comfort, but at the expense of authentic connection. Carol’s misery keeps her tethered to reality — she is the only one who can remind the Joined of what love and meaning truly feel like, because she alone remembers what it’s like to suffer. In ending world suffering, they’ve also ended love, since real love includes the possibility of loss and suffering.  

As Dostoevsky suggested, suffering is not just pain, it is wounded love. Hell, as Father Zossima claims in Brothers Karamazov, “is the suffering of being unable to love.” This is true on a divine level. Because if God cannot suffer, then God cannot love, either.

With Pluribus, Carol’s desolation becomes a form of resistance—an insistence that authentic human experience demands the full spectrum of emotion. She’s not fighting for the right to be happy; she’s fighting for the right to be real. And with the series still unfolding, one question lingers: can Carol save the world from its own happiness? Can her sadness persuade others that real life includes both the highs and the lows? 

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