Review
Culture
Digital
Film & TV
Work
5 min read

Heaven can wait: the gig economy can’t

Good Fortune skewers modern work culture with a celestial twist

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

A film character talks to an angel in the street who has wings on the back of his coat.
Aziz Ansari and Keanu Reeves star.
Lionsgate.

Good Fortune sees a well-meaning but rather inept angel named Gabriel meddle in the lives of a struggling gig worker and a wealthy venture capitalist, with unpredictable results.  

The film follows Arj (Aziz Ansari), a frustrated documentary editor who is unable to get any steady employment and has been relegated to working in the gig economy, bowing and scraping to all app users for fear that they’ll give him a one-star review. Arj has resulted to sleeping in his car and is only one step away from being completely destitute. After a short trial period working as a personal assistant for bumbling millionaire Jeff (Seth Rogen) that ends badly, Arj reaches the end of his tether. Out of the blue, an angel named Gabriel (Keanu Reeves) appears to Arj, trying to show him that his life has meaning. In order to convince him, he swaps Arj’s life of poverty for Jeff’s of luxury in an attempt to show him that having money won't solve all his problems. But unfortunately for Gabriel, it does solve most of his problems, and Arj does not want to swap back.                                                    

Aziz Ansari writes and directs Good Fortune, making his directorial debut. Unfortunately, while this film may promise a lot, it sadly fails to deliver. The social commentary is on point, but the laughs are spaced very far apart. It manages to accurately diagnose the problems that society faces, namely that the gig economy created by big tech has taken us back to Victorian levels of economic uncertainty for many people. But the prognosis somehow seems to lack any punch when it’s finally delivered. Good Fortune feels like a mix of Trading Places, a cynical version of It’s a Wonderful Life, with a touch of the sitcom Superstore thrown in for good measure. It wears its influences on its sleeve, but never really coalesces into its own thing. The one area it does flex its muscles is the performances.  

Ansari’s Arj voices the frustration of a generation when he says, "I did everything I was supposed to do and nothing's working out”. It is quite enjoyable when Gabriel asks him if he has learned that being rich and privileged isn’t all it’s cracked up to be, and Arj vehemently disagrees. Rather than learning any particular moral lesson, Arj has simply learned that it’s much nicer to be depressed in a mansion than in a hovel.  

Seth Rogen has the hapless privileged idiot down to a science at this point; there’s something cathartic about him seeing how difficult it is for people trapped in the gig economy. “This is too hard,” he despairs, “How do people do this, without just being miserable and angry, all the time?”  

Perhaps predictably, the stand-out performance is Keanu Reeves as Gabriel. Far from being a serenely wise archangel in this iteration, Gabriel is, by his own admission, a bit of a “dumb-dumb”. The film opens with Gabriel feeling frustrated in his current role, stopping people from texting and driving at the last possible moment. Gabriel feels desperate to change the course of someone’s life for the better. Gabriel’s meddling in Arj and Jeff’s lives is not looked on fondly by Martha, his superior (played by Sandra Oh). She makes Gabriel human as a punishment, sending him on a journey of self-discovery.  

After the weighty self-importance of the John Wick franchise, it is thoroughly enjoyable to see Keanu shifting into comedy mode. His Gabriel has a touch of his Bill & Ted performance, making him a naïve idiot who lights up the screen every time he’s on it. Seeing him enjoy tacos, milkshakes and ‘chicken nuggies’, simple pleasures that are so easily taken for granted, brings some much-needed levity to a script that doesn’t always manage to rise.  

In a sense, Good Fortune writes itself into a corner and can’t quite figure out how to get out of it. It feels like there’s a lot of time floundering around for an answer, which is frustrating, even at a brisk run time of 98 minutes. If there is any area that feels under-served it’s the sub-plot with Elena (played by singer and actress Keke Palmer). Serving as the love-interest for Arj, Elena seems to be the only one clear-eyed enough to see that systemic oppression requires an organised response, and is in the halting process of forming a union. Elena is the only one able to talk any sense into Arj when she says: “I’d rather be back down there, trying to help more of us get up here”.  

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Article
Culture
Freedom
Justice
4 min read

Free speech for me, but not for thee

A hate crime hoo-ha and the limits of free speech

George is a visiting fellow at the London School of Economics and an Anglican priest.

Two brown bears fight while baring their teeth.
Zdeněk Macháček on Unsplash.

It was the the legendary Manchester Guardian editor CP Scott who said “Comment is free, but facts are sacred.” His dictum hay have held a century ago, but it doesn’t stand up today. In post-truth societies, facts are anything but sacred. And, leaving aside for now whether the opposite of sacred is freedom, comment isn’t free either. 

I don’t mean in the sense of whether or not you have to pay for it – you’re not paying for this, for example – but whether comment, as Scott took it for granted to be, is an act of freedom. Graham Linehan, the Father Ted comedy writer, temporarily lost his freedom to a squad of police officers at Heathrow airport for a social media post he’d tweeted: "If a trans-identified male is in a female-only space, he is committing a violent, abusive act. Make a scene, call the cops and if all else fails, punch him in the balls." 

The subsequent hoo-ha has precisely been about whether Linehan should have been free to make his comment. The police, under prevailing hate-crime laws, felt obliged to arrest him. Subsequently the media, politicians and assembled chatterati – even the Met Police commissioner weighed in – wailed how ridiculous it all was and, adopting serious-face, what a threat it represented to free speech, which is one of the most potent graven images of our time. Facts may be free these days, but comment is sacred. 

 Except it also depends whose comments and opinions are deemed sacred. So some people’s speech is more free than others. Take the Free Speech Union (FSU), founded by the liberally-challenged Toby Young. Here, right-wing freedom of speech is inalienable and non-negotiable. So silly intrusions into the views of Islamophobes and critics of trans-activism? Outrageous. But supporters of Palestine Action (PA), nearly 1,000 of whose supporters had to be arrested by police for peacefully holding placards? Not a word. They’re all lefties, you see. 

As Hugo Rifkind pointed out in The Times, neo-conservative and FSU director Douglas Murray was asked by Daniel Finkelstein whether his free-speech principles extended to PA’s superannuated supporters. Apparently not. And Reform UK’s Richard Tice simultaneously believes that protesters outside asylum hotels are “part of who we are”, but that the correct response to PA protesters is to  “arrest and charge the lot. Jail them.” Forgive me, but I thought a central tenet of faith in free speech is that it’s consistently applied? 

“Part of who we are ” used to be a tolerant, inclusive and pluralistic society. Not just campaign for our lot and bang up all the rest. And I’d contend that we should self-regulate freedom of speech rather than legislate for it. The Met Police commissioner, Sir Mark Rowley, seems to agree with that: “Regulations that were understandably intended to improve policing and laws that were intended to protect the vulnerable are now tying officers’ hands, removing appropriate professional discretion — which some call common sense.” 

That “common sense” is much beloved of freedom-of-speech warriors at places such as FSU. But they always get to define what it is and who gets to benefit from it, because it’s tribal. “If they pick on you, we’ll pick on them,” declares Young on his FSU website. It’s freedom for my tribe to say what it likes, not yours. And freedom of speech is meaningless if it’s not for everyone, including your political enemies. 

Where we agree is that freedom of speech should not be adjudicated by the law. There are enough laws without legalising what people can’t say or write. Where, I imagine, we disagree is that it shouldn’t be adjudicated by Young and Murray and Tice either. As matters stand, we have those who want to legislate for the right to free speech and those who campaign to restrict it. Nothing can come of that. 

By regulating ourselves, the risk is run of sounding conservatively nostalgic for a golden age of civility that never really existed, or rather that was imposed by social authority. It’s the sort of proposed solution you hear when someone says it’s really a question of good manners. It’s true that freedom of speech largely worked in a period of deference, but deference was probably not a good price to pay for it.  

What can be said is that, like any freedom, freedom of speech comes with congruent responsibilities. We hold a responsibility not to cause violence with what we say, even or especially if that means turning the other cheek. In ecclesiological management terms, this would make freedom of speech a pastoral rather than systemic provision. We serve each other; we don’t require the state to serve us.  

Linehan’s post was fine up until it’s final phrase. But it’s peer pressure, not the law, that should have prevented him from using it. Taking the violence out of speech should be an educated, peaceful instinct. And that remains a social duty, not a governance one.

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Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
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Graham Tomlin
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