Article
Creed
Mental Health
4 min read

Have our worries changed over time?

A pep talk to teachers reveals whether our fears are age-old or not.
In an egg box sit two eggs with faces drawn on them with marker pen. One looks worried, the other looks on.

‘You’re not going to mention the psalms!’ my colleague said. ‘Are you?’ 

She was doing alarmed eyes at me, the sort which show white all round. I could see why really. We were on our way to give a talk at a big secondary school in Birmingham – multi-cultural, multi-ethnic, multi-faith. The sort where praying had been banned as divisive, and the wearing of crosses discouraged. Hijabs too, for that matter. Not the kind of place where you chat lightly about a part of the Christian bible, on the whole, unless you’re trying to be provocative. 

I did mean to mention them though. ‘I can’t think of another example,’ I said. ‘And anyway, it’s too late now – I sent the slides through last night.’ Deep breaths. 

Just to explain a little, as counsellors, my colleague and I had set up a programme of talks and workshops for schools in the area, aimed at improving mental health in the aftermath of the pandemic. We’d seen all the warnings about the ‘tsunami of mental health issues’ threatening to deluge the country and decided to take action. Recognising that we couldn’t get to every individual child who might need help, we’d focused our efforts on the adults in the schools. Steady the grown-ups and you steady the children, was our thinking. The young take their wellbeing largely from the pattern set by their elders, even in this age of smart phones and social media, and the levels of despondency were very high among teachers and school staff in our experience. Lots of people burning out and leaving the profession. Not a steadying influence then. Hence our topic for today: ‘How to feel better in difficult times’. 

I was nervous as I stood in front of the large hall full of people. Several hundred of them, all ages and stages. Some looking attentive, many expressionless, a few sleepy. I could see my colleague at the end of a row near the front. She had one hand up to the side of her face and was making herself small. Great, I thought. Very reassuring. But too late now, so on we go… 

I introduced myself. I introduced my colleague. I introduced our work. And then I mentioned the thing that needed no introduction. It was already familiar, a regular inhabitant – present here in the room, but also everywhere else we went: our homes, our classrooms, our friends’ houses, the streets, the supermarkets. Fear. Horrid fear, drifting through the air like smoke. I gave them some awful statistics I’d found, about the rates of anxiety and depression. About the levels of self-harm, about the fact that suicide is now the second biggest killer of children between 10 and 15. I let these sink in a bit. 

Then I asked, ‘So what are we afraid of, exactly?’  

It is accepted practice in all mental health disciplines to try to identify the causes of fear and face squarely up to them as that’s the only real way to defuse their power, I said. I was going to read them a list of potential causes – and while I was doing so, I’d like them to try and guess where the list had come from. Call out your guesses please. 

‘Getting old,’ I started. ‘Drinking too much. Tyrants swooping on other people’s countries. Teaching our children to be better than we are…’ 

‘Twitter!’ someone called out. 

‘Cutting down the forests. Loss of friends. Waking up sweating in the night. Other people saying awful stuff about us…’ 

This Morning!’ came another voice. 

‘Feeling very alone. No sign of things getting better. Envying the rich. Death. Food being short…’ 

‘The news this lunch time!’ 

‘Plagues and pestilences. Being in despair. Cruel words. The evils of the class system. Not having work. Feeling low. Feeling weak…’ 

‘It’s got to be The Daily Mail,’ someone else shouted. Laughter. 

I looked up. ‘Good guesses,’ I said. ‘All of them, thank you. Only they’re a bit out of date. By about four millennia, give or take!’ 

Surprise fizzed through the room. 

I had wanted to find out what people used to worry about, I explained. To see how that differed from our current worries. I hadn’t known where to look though, until I suddenly remembered the psalms. ‘Some of you might be familiar with the psalms,’ I said, ‘but for those of you who aren’t, they are 150 ancient songs full of moaning.’ They varied in age, but the oldest were thought to have been written the best part of 4,000 years ago – making them older than the pyramids. I’d taken twenty of these songs out of the middle of the book – Psalms 60-80 – and listed the things they were moaning about… as just demonstrated. 

A lot of the sleepy faces were looking more alert now.  

Since this ancient list is more or less identical to our own, we can draw two conclusions, I said. Both very good news. The first is that, clearly, these are the things we worry about – if we’re human. People from a totally different culture/ period in history/ part of the world/ ethnicity/ stage of economic development/ political system/ level of education and so on and on, worrying about the same things as us? Doesn’t it show that… er, it’s normal? For living, breathing, average, sentient human beings like us? 

And secondly it proves, surely, that we’re designed to survive this kind of worrying. We’re wired to cope. Our brains are built for it. Because – ta da! – here we all are, FORTY CENTURIES later, still moaning about exactly the same stuff! 

I looked at my colleague again. Not only were both her hands now down in her lap, but like a lot of the rest of the room, she was smiling. 

‘If we can clear fear out of the way, it’s much easier to get on with sorting out problems,’ I finished. ‘So now, shall we talk about where we can get started?’ 

Review
Culture
Film & TV
Mental Health
5 min read

The C-list villains reviving Marvel's Cinematic Universe

A thunderbolt of sincerity shows the franchise can still thrill.

Giles Gough is a writer and creative who hosts the God in Film podcast.

Four characters from a film loop warily to the side.
Anticipating the reviews.
Marvel Studios.

This article will contain spoilers for Thunderbolts* 

It’s not unreasonable to say that fan expectations for the Thunderbolts* was tepid at best.  Even the most diehard of them had to admit that the output for phase five of the Marvel Cinematic Universe has been a mixed bag. Guardians of the Galaxy Vol. 3 was deeply heartfelt, the Marvels was an enjoyable watch, but Antman and the Wasp: Quantumania definitely felt like a misstep, and the last Captain America: Brave New World certainly didn’t feel like it had exploited all the opportunities available. So, when Thunderbolts* arrived to round off this phase, featuring a team comprised of C-list villains, it was hard to generate a lot of enthusiasm. Thankfully, this film showed that Marvel still has what it takes to thrill and inspire us in equal measure. 

Loosely inspired by a group created from the comics, the Thunderbolts were a team of villains masquerading as heroes who in some cases, ended up genuinely reforming. If that premise sounds familiar, that’s because it’s essentially the idea behind Suicide Squad, (a film so bad that D.C. had another go at making a Suicide Squad film and we the audience, were more than happy to just let them).  

The original Avenger line up, whilst compelling, always had some distance between themselves and the core audience. A super soldier, a billionaire genius, a rage monster, a literal Norse god and a super spy carried the bulk of the story. That level of brilliance in a set of characters can be inspiring but also alienating. How for example, can a person relate to Steve Rogers? A character whose main defining trait is to always make the right moral choices and be universally respected for it? 

The Thunderbolt team is not so respectable. U.S. Agent, (Wyatt Russell) the Red Guardian (David Harbour) Bucky Barnes, (Sebastian Stan) and Ghost (Hannah John-Kamen) have all at some point been trained assassins. The film goes to great lengths to show all of these characters being broken in some way or other. None more so than the character of Yelena. 

Whilst this film is definitely an ensemble picture, they make no qualms about putting Florence Pugh‘s Yelena Belova front and centre of the story. Pugh’s star power showed that it could hold up alongside Marvel veterans like Scarlett Johansson and Jeremy Renner, and it’s put to good use here. The film opens with Yelena having something of an existential crisis. “There is something wrong with me” her internal monologue says; “An emptiness. I’m just…drifting. And I don’t have purpose.” Granted having a job where most of the individuals you meet are people you are either going to kill or incapacitate would indeed make loneliness an occupational hazard. But despite the fantastical circumstances, many viewers will be able to relate to the feelings presented.  

It's this awareness of her own struggles then, that perhaps makes Yelena best placed to help ‘Bob’, an affable, self-deprecating young man. Bob (played pitch perfect by Lewis Pullman, son of the great Bill Pullman) is given god-like powers by Julie Dreyfuss’s Valentina Allegra de Fontaine, in the hopes of making him a protector for the earth against any inter-galactic threats. With his new powers, Bob is virtually unstoppable. There’s just one problem; Bob clearly suffers from some type of crippling depression, which when amped up with super-powers makes him ‘The Void.’ His appearance; a black outline sucking in all detail save for two pin pricks of light where his eyes should be, combined with the ability to effortlessly turn people into black scorch marks, is the stuff of nightmares. Move over Churchill’s ‘black dog’, we now have a new metaphor for depression and its all-consuming power.  

Battling depression is an area where the church is still lagging behind the world at large. “A depressed Christian has a double burden” writes Dr John Lockley in his book A Practical Workbook for the Depressed Christian, “Not only is he depressed but he also feels guilty because, as a Christian, he feels he is supposed to be full of joy.” 

In some evangelical circles, depression is either treated as something that doesn’t exist, is minimised, or mistakenly believed to be the result of unconfessed sin. Spiritual leaders who are ignorant of the nuance around mental health believe that depression can simply be prayed away. When that doesn’t work, they can often blame the sufferer for their lack of healing, putting them in a very lonely place. “One of the most painful elements of mental illness is that it’s marked by isolation, which is exactly the opposite of what people need” writer Amy Simpson said in a 2014 interview; “And one of the things people with mental illness most need is for this kind of loving community to tighten around them, not to loosen”. Why is this relevant to a superhero blockbuster? Well, the climax of the film does a great job of illustrating a positive approach to mental health.  

The finale of Thunderbolts* somehow manages to have its cake and eat it. Once again, New York is in need of saving, but also, it’s about trying to help a young person overcome their depression and not completely succumb to The Void. Being able to go into someone’s mind and see their core traumas writ large is the most comic book conceit in storytelling. Inside Bob’s psyche, we see him trying to fight The Void, and failing, and it’s only when he has help from the rest of the Thunderbolts* is he able to get a temporary release from The Void’s grip. It would be a mistake to over-state this scene as a full-on treatise on how to tackle mental health issues, but it might just have some clues as to how to go about it: 1) don’t expect that any battle with depression is decisive. It can always come back and it’s better to prepare for that possibility and 2) you don’t have to battle it alone, it would be madness to even try.  

It's a surprisingly sincere place for a seemingly wry film to end, but it really, really works. It could be that expectations may have been lowered, or that we were expecting a film with the emotional depth of a puddle. But Thunderbolts* wildly exceeded expectations, and as the best post-credits scenes often do, there’s a promise that the best is yet to come.  

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