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4 min read

The great pie mystery

Some unusual graffiti give insight into reality’s mysteries.
A green bridge spans a motorway, on its side is graffiti that reads 'PIES'
The view on the M6.
drgillybean, Creative Commons.

Do you have a favourite piece of graffiti? I used to.  

If you're travelling on the M6 around Cheshire, at some point you’ll come to one of those green motorway bridges. And on the side of it, overlooking the tarmac, you'll see in massive writing the word “PIES”.  

When I was a kid, I used to be fascinated by this. It raises so many questions. Who wrote the graffiti? How did they do it? Was this person in favour of pies or against them? Was it about all pies or just some pies? What had happened in this person's life to make them have such strong opinions about pastry?  

And it was just me. For nearly 30 years, people were left nonplussed about the graffiti as more and more instances of it began to crop up across the North-West of England. 

And then, in 2016, the mystery was solved. Apparently, it wasn't really to do with pies at all. It was all the result of a Liverpool band called The Pies trying to promote their music. After getting stuck on the motorway one day, they decided to write the name of their band on the side of the motorway bridge because, well, what else are you going to do when you’re broken down?  

It's fair to say, I was a little bit gutted to learn about the origins of the graffiti. 

What was once an intriguing mystery that kept me up at night and haunted my every thought (okay, perhaps a slight exaggeration) was revealed to be something so … boring. With hindsight, I wish I'd never learnt the truth about what happened. I thought wanted to know the origins of the pastry-based vandalism but, as they say, ignorance sometimes is bliss.  

You see, we sometimes need a little bit of mystery in life.  

Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness. 

This is evident in lots of different ways, but perhaps most apparent when it comes to entertainment and art. TV series Lost, for example, was a huge hit when it first came out. Why did the plane crash? What is the island? What is the smoke monster? Viewers were hooked and demanded answers.  

But then answers came and everyone was upset. As Lost went through series after series, and explained more and more about what was happening, the audience slowly became more and more disenchanted with the program. The finale – where the programme’s biggest mysteries were finally revealed – was almost universally panned. 

The same to be said of the recent HBO hit Westworld. Its first series was by far and away its best. But season two and three trailed off significantly as there was simply no mystery left in the programme after its spectacular first series. I wonder if this is precisely why the works of the late David Lynch were as compelling as they were? The still-incredible Twin Peaks holds up so well precisely because it categorically refuses to explain itself. 

Elsewhere there is a growing tendency in video games, for example, for the narrative of the story to be hidden away, shrouded in mystery and atmosphere. Think of From Software games like Dark Souls and Elden Ring, massively successful in part because they are so mysterious. In both instances, it’s entirely possible to complete the game and have no clue whatsoever that there was even a story in the game, let alone to understand it. The player becomes captured by the mysteries of the worlds they find themselves in, and it’s these mysteries, rather than any answers, than compel them forwards. 

The reason why programmes like Lost and Westworld begin to lose their allure as they explain more and more about their world is that this jars with the reality of the world around us. Peel back the world in Lost or Westworld and you see there’s actually only a thin layer of reality masking a great chasm of nothingness.  

Peel back the world around us, however, and reality goes all the way down. And this is precisely what we would expect from a world created by a God, who is infinitely Infinite. Reality is not paper thin; goes all the way down. It is mysterious, unfathomable, and resists easy answers. 

And so, when we get disappointing explanations about a plane crash in a TV programme, or the origins of our favourite graffiti, it rightly leaves us feeling unsatisfied. Because we are made to be at home in a world that is deeply real. We are made to be at home in a world where the reality has unfathomable, unimaginable depth to it. A world that cannot simply be explained away. 

And this is why mystery is so important in our life. In the post-Enlightenment culture in which we find ourselves, a culture that demands every question be answered and every Scooby-Doo villain be unmasked, the notion of boundless mystery might seem somewhat disquieting. 

But we are made for mystery. And this is why the best works of art trade more on the mysteries they introduce, rather than the answers that might be behind them. And this is why mystery can be found all around us. Even in a pie.

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4 min read

Peter Thiel and the Antichrist

The PayPal founder’s obsession with the Beast is nothing new

Jack is a graduate of Peterhouse, University of Cambridge and Blackfriars, University of Oxford. He writes, and also works in local government.

An AI montage show a black and white school at the centre of a red and yellow circular grid upon which are the San Francisco skyline and map.
San Francisco Antichrist.
Nick Jones/Midjourney.ai.

Sometime between 95 and 110 AD, a Christian called John the Evangelist (it is said) wrote about ‘the spirit of the Antichrist, which you have heard is coming, and even now is now already in the world.’  

Fast forward two thousand years, and the Antichrist is back on the agenda, this time via Peter Thiel, the co-founder of PayPal and Palantir (a data analytics company) and the first external investor in Facebook, who is currently offering his thoughts on the “politics of the Antichrist” in a four-part lecture series in San Francisco. 

Thiel previously said, in an interview in 2024, that he thinks that if the ‘Antichrist were to come to power, it would be by talking about Armageddon all the time.’ By Armageddon, he means the destruction of the world arising, for instance, from nuclear war, bioweapons, climate change, or AI.  And in that interview, Thiel referenced an instructional documentary film from 1946: One World or None. Its thesis is that the answer to atomic warfare is to have the nations of the world unite. According to Thiel, such a global government would be the most insidious danger of them all.  ‘The slogan of the Antichrist,’ he said, is ‘peace and safety’, which ‘resonates’ in ‘a world where the stakes are so absolute, where the alternative to peace and safety is Armageddon’. So, the promise of perfect peace is a false one: it would lead only to a one-world totalitarian government.  

We have been here before. On 13 January 1814, at one of thousands of services of national thanksgiving to celebrate the Peninsular Army’s entry into France, which heralded the end of the Napoleonic Wars, The Venerable Joseph Holden Pott, the Archdeacon, ascended the pulpit in the St Martin-in-the Fields Church on Trafalgar Square in central London. There had, he said, never been a ‘fitter moment’ to encourage ‘patriot zeal’ ‘on sound and righteous principles’, which he expounded for his flock. Jesus Christ was ‘a true patriot’. First, he loved the place of his birth and the people around him; then, he demonstrated love for the whole world. The ‘spirit of true Patriotism regards the good of other Countries as connected always with its own.’  However, one’s home country always come first.  

Throughout the Napoleonic Wars, Napoleon, who rose to power on the wave of revolutionary unrest in France, was cast by the ruling elite in Britain as the Antichrist. Protestant Britain was depicted as the new Israel, which would deliver Europe from all its woes. With the risk of political Armageddon in their own country, the establishment reasserted the importance of religion to the nation state.  

The politics of the Antichrist will always tend to have traction, but the risk is that the response to the belief that the Beast is rising out of the sea, to use the image deployed in the Christian Bible, will be just as destructive: a religious revival that is all about reactionary politics or remembrance of things past.  

Thiel’s take on history is that it its linear, angled toward the End Times. His thought is cyclical, collapsing in on itself, in that it is a tired trope that has been used before. For instance, it has been used during the Napoleonic Wars, and it is not guaranteed by a strong faith that can move mountains, which is arguably what the world needs more than anything else.  

Saint John meant, by the ‘spirit of the Antichrist’, ‘every spirit that does not acknowledge’ Jesus Christ as Lord. And soon after, the early Christian theologian Clement of Alexandria, who sold Christianity in a competitive marketplace, wrote about the ‘sects both of barbarian and Hellenic philosophy’ that unlike Christ ‘each vaunts as the whole truth the portion which has fallen to its lot’. 

The risk with Thiel is that he is simply validating unchecked ‘tech’ taking over the world. It is also sectarian that Thiel’s thoughts, for all their seemingly counter-cultural boldness, are often expressed in the shadows. His remarks in his current lecture series in San Francisco, for example, will go unrecorded. They are speculative in their nature. 

By contrast, those writers who lived through the first half of the twentieth century, which Thiel sees as a turning point in the politics of the Antichrist, flaunted their wares in public, with incisive clarity. They spoke of the way in which the spirit of Christ transcends time and all other ideology, like Clement of Alexandria in the first century.  

One such writer was C. S. Lewis, who wrote an article ‘On Living in Atomic Age’ (first published in 1948), in which he exhorted us not to exaggerate ‘the novelty of our situation’. We were always going to die, irrespective of the politics of the world around us, and as ever our mission is to better ourselves by turning to Christ. We should not assume that we alone can save the world. But Peter Thiel sounds he like does. 

So, we still have much to learn from the Christians from the early church. Saint Paul wrote to Christians in Thessalonica warning them not to be deceived by the Antichrist, who ‘sets himself up in God’s temple, proclaiming himself to be God.’  And anyone encountering Peter Thiel’s (or indeed any one’s persons) political ideas would do well to remember that.  

The PayPal founder’s obsession with the Beast is nothing new.  

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