Help for the Heelers

The benevolent butterfly effect in Bluey’s season finale.

From Mockingbird

Mockingbird connects the Christian faith with the realities of everyday life.

A cartoon dog family stand in their kitchen

Bluey and family.

Ludo Studio.

Written by Bryan J. This article first appeared in Mockingbird, 23 April 2024. By kind permission.

“Daddy, there’s no God in Bluey’s world, is there?” No joke, my precocious four-year-old PK [Pastor’s Kid] son asked me this question after watching the new Bluey season finale, titled “The Sign.” It’s a deep question, one that comes from a place of honest curiosity — “The Sign” is, without a doubt, one of the most spiritually significant episodes of a series that is known to offer big questions to little kids. The Heeler family is presented with a life-changing decision with no guarantee of a happy ending, and the whole of the episode features the family wrestling the unknown of the future. The fact that my son could pick up on the high stakes of the episode, the philosophical questions about the goodness of providence, and the impossibility of knowing whether the future was bright or not … let’s just say it justifies the tears that come every time I watch the episode with him.

Which is five times now. I have watched the finale five times and wept every time. Isn’t this show made for preschoolers?

“The Sign” reveals a family in transition. After offering a number of hints earlier in the season, we discover that the Heeler family dad, Bandit, has accepted a job offer that pays a lot more money, but will require him to move. Chili (aka Mum) agrees with the choice to move and take the new job, but she has sincere concerns about leaving family, friends, neighbors, city, and a beloved house behind. Bluey, of course, has trouble coming to terms with the idea, as any preschooler would, and Bingo remains blissfully ignorant of the big changes coming her way. The preparations to move coincide with preparations for Uncle Rad’s marriage to family friend (and Bluey’s godmother) Frisky, with the family’s four preschool girls joining in as flower girls.

Big changes bring big questions, of course. Nowhere is this more evident than in Bluey’s preschool classroom. Calypso, the teacher, models a zen-like spirituality for Bluey and her friends. At the end of story time, Bluey asks her teacher “Why do stories always have happy endings?” Her teacher responds, “Well, I guess ’cause life will give us enough sad ones.” (Is this a kid’s show?) This inspires a host of sad stories from Bluey’s peers: a guinea pig that ran away, a divorce, a lonely dad. It’s now that Bluey announces her not-so-happy ending, telling her friends that she is moving. To help the class cope with their sadness, Calypso reads her students a parable of a farmer, who approaches all of life’s good luck and bad luck moments with the simple attitude of “we’ll see.” It’s a story without a happy ending (or without any ending, really), and the kids don’t buy it. “Is that it?” asks one, disappointed. “What happens next?” asks another. “Everything will work out the way it’s supposed to, Bluey” says Calypso with kindness, which Bluey takes to mean that their family house won’t sell (which it does, in the next scene).

Big questions also mean big feelings. An enraged and fearful Frisky, dismayed to discover her fiancé expects her to move out west where he works, runs away the morning of the wedding. Chili hops in the car, with four preschoolers in tow, to track her down. A series of events, which can be only described as providential, take place along the way. Chili, Bluey, Bingo, and cousins run into just the right person, spill juice cups at just the right moment, and make pit stops at the precisely needed spot, to find Frisky in quiet reflection at a local hilltop park. Groom-to-be Rad shows up, too. Frisky and Rad talk through their concerns and move on with the wedding, announcing there that they’ve chosen not to move west as planned. It’s a lovely wedding, with dancing and family and fun and a host of easter eggs for eagle-eyed viewers to enjoy. “You’re having a happy ending!” announces Bluey to her godmother, before turning to her mother and asking “Do you think we’ll have a happy ending too?” “I don’t know,” replies Chili, “But I’m done trying to figure it out. I just wanna dance.” Queue the happy dance montage.

Still, providence has not finished working with the Heelers. On moving day, a whole host of minor events from previous episodes collide to cancel the sale of the Heeler’s beloved house. It’s hard to describe every little flap of the butterfly’s wing that impacted this outcome — a combination of stuck coins, romantic encounters at the drugstore, inchworms saved from being squished on the slip-and-slide, and overzealous real estate agents all played their part. In a moving montage, Bandit takes the call about the canceled sale of the home, changes his mind about the new job, symbolically rips the for-sale sign out of his front yard, and is tackled by a loving family who realize they don’t have to move anymore. The family sits on boxes in their empty kitchen floor eating takeout cheeseburgers, relieved of the anxiety of moving, while the show rolls to credits. The song playing in the background is called “Lazarus Drug,” sung by the same voice actor who plays preschool teacher Calypso. It’s a song about love drawing someone back to life, perhaps a nod to the love of Bandit’s family drawing him back to the reality that they may already have a great life, and money wouldn’t make it any better. The Heelers get their happy ending, too.

The Greeks were the first to use the storytelling tool we know by its Latin name: deus ex machina, God from the machine. In Greek drama, at the climax of a seemingly unsolvable problem, a machine (usually a trap door or crane) would lift or lower an actor onto the stage portraying one of the gods of the Greek pantheon. These gods would step in and provide a solution to a drama’s seemingly unsolvable and complex problem. Nowadays, the term is derisive, an insult that implies lazy writing or poor storytelling. At the time, however, the audience loved these deus ex machina solutions. At the risk of psychoanalyzing the past, one imagines they would have been quite happy to imagine that the Gods cared enough in the affairs of humans to intervene for a happy ending.

Deus ex machina is a criticism that can be leveled at this season finale. After all the adults tell the precocious preschooler that life gives out happy and sad endings, we are not given any sad endings. The only way to navigate change, according to the wisdom of the world, is sit back, embrace a sort of desireless “zen” regarding the future, and say “we’ll see,” but everyone nonetheless gets a happy ending. After bending over backwards to lay out how the future is fickle and unknowable, the show still insists on showing how everything lined up just perfectly for Bluey’s “prayers” to be answered. It’s not just her either. Aunt Brandy’s desire for a child comes to fulfillment, after we are told numerous times that it is not meant to be (S3E31). Winton’s divorced and depressed father meets the mother of the terrier triplets (S3E45), and the two come together and form a new family. The shaggy hair dogs get their house with a pool. Everything works out just fine. Despite the look of a Greek tragedy, in which everything ends poorly for the protagonists, things end up turning out fine, just like every Greek comedy. Or, to put it in Elizabethan terms, what starts out like Hamlet becomes A Mid-Summer Night’s Dream.

In Bluey’s world, the happy endings are real. The parents always muster enough energy to play with their kids. The right parenting lesson is always on hand, and handed down with pithy aphorisms. Hurt feelings are acknowledged and reconciled with emotionally intelligent strategies. The love shown between friendships and family members is realistic and optimistic. Moreover, in this square dog world of Brisbane, Australia, when parents and grandparents are at the end of their ropes, providence steps in to help guide the way. Happy endings are not so much earned in Bluey’s world as they are a given, or perhaps gifted, sometimes by tired and exhausted parents, but also, by an unseen benevolence watching over them. What is grace, after all, if not an unexpected happy ending?

So how did I respond to my son’s question? “Yes,” I told him, “there is a God in Bluey’s world. Who do you think made all those happy endings come true?” It’s not an answer I should have come up with so quickly. I’m not usually one to offer a succinct one-liner that sums up decades of media study and theology in a bite sized nugget for my four-year-old. Perhaps, instead, it was providence that gave the answer for me.

Article

Change

Community

Hospitality

7 October 2025

6 min read

In an age of disconnection, I want to belong

Old rituals offer reasons to stay linked together even when the world is trying to pull us apart

Elizabeth Wainwright

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

Wassailers emerge from a shed beside a wood

Wassailing at Bourne Woods, Lincolnshire.

Bob Harvey, CCL, Geograph.

Once, I went to a ‘wassail’ on the edge of the city I lived in. A Wassail, from the Old English phrase meaning "be in good health", is a ceremony that involves toasting apple trees and scaring away evil spirits to ensure a good harvest, and it dates back to Anglo Saxon times. A man dressed in green and brown layers and leaves led the ceremony, passing around cups and cider for us to offer to the trees. We listened to stories, shared food. The event was ticketed. I was curious. But I felt out of place; a fraud stepping into this old ritual with no prior connection to these particular apple trees or this bit of land they were on, or to the people who surrounded them – trying to convince myself and others that I belonged. To what? To who? At the end, we all went back to our separate homes across the city, no more responsibility for those trees, nothing to link us to each other anymore.

I’ve been advertised many events like this. Places to be celebrated through feasting, music and dance, entering into “ancient traditions connecting us to nature” – beating the bounds, toasting the land, enjoying seasonal feasts, listening to old stories. Photos advertising these events are like something styled for Country Living magazine, placing heritage rituals in high-end consumer settings; signalling intentionally or not that they are curated lifestyle experiences available to those who can afford them. They are part of the growing ‘return to the land’ movement that I often come across online, mediated through brands and influencers, curated retreats, Instagrammable countryside.

I look outside the window towards our rural Devon village. It is grey and drizzly, and it will probably be grey and drizzly at harvest time. There will be no Instagrammable moments, but there will be deep roots that have grown slowly and are tended all year round.

Perhaps these events signify an ache for a particular kind of rootedness. I have this ache. I am envious of friends who farm in landscapes their ancestors have inhabited for hundreds of years, of people who feel a clear sense of home and belonging. In the past, these feelings were often linked to community and to the faith and work traditions that bind community together: harvest home, Lammas, Rogation, saints’ days, midsummer. They weren’t boutique experiences open to anyone who could pay for them; they were communal and local, woven into survival, farming, faith, community. I am trying to carve out these feelings too.

I have been wondering what we lose when old celebrations and rituals are curated, commodified, or disconnected from the deeper soil of faith and tradition that once sustained them. How do we celebrate the longing for rootedness without flattening it into a lifestyle accessory, stripping it of faith, memory, obligation, and mystery? How might old rituals help us to feel deeply hopeful and rooted in an environmentally and socially fragmented age?

I think it can help to place these rituals in the context of place; of community; of faith. These contexts offer reasons to stay linked together even when the world is trying to pull us apart, even when I’d rather walk away. Without some kind of infrastructure of belonging, I think old rituals can become about consumption and lifestyle rather than connection to people and place. They become weekend events, or expressions of self, or a nice vibe – not a life’s ordering. Real ritual, I am coming to realise, requires weight; a tie to story, belief, and responsibility — not just aesthetic revival. A harvest festival in a rural, overlooked parish like mine may be small, strange and inefficient. It will not be photogenic, but it will connect me and others to a stream of 2,000 years of worship here, and before that to millennia of agricultural rhythm-marking. It introduces me to people and farms, to old stories that have lain dormant like relics in the soil, to possibilities for my own faith and belonging.

I have been reading Paul Kingsnorth’s new book, Against the Machine. By ‘machine’ he means the nexus of power, wealth, ideology and technology that has emerged; a project of modernity “that is to replace nature with technology, and to rebuild the world in purely human shape, the better to fulfil the most ancient human dream: to become gods.” I suspect Kingsnorth would see the commercialisation of ancient rituals as a consequence of machine culture. Disconnecting the rituals from their origins and landscapes and relational ecosystems is to render them floating experiences, available to be purchased and claimed and bent to anyone’s will. A machine-friendly spirituality that strips mystery and, importantly, the cost of that spirituality – commitment, belonging, sacrifice, inconvenience.

Kingsnorth shows that the razing of old stories, communities, and traditions created a blank canvas that allowed for the success of the industrial revolution, and so today’s materialistic and economically-driven culture. And so I see hope in the interest and resurgence of old traditions, in our hunger for roots, in the reclaiming of stories that were once trampled and forgotten. But I think it matters whether they are resurrected as machine-friendly buyable experiences, or as ways of being that seek continuity with something older and truer, something outside of today’s dominant paradigms.

Anthropologist Victor Turner explored the ideas of liminality and communitas. Liminality refers to an ambiguous ‘between’ state where individuals are stripped of their usual social roles and statuses. Communitas is the unstructured social bond that emerges among people in this liminal state, creating a sense of equality, directness, and shared humanity that challenges formal social structures. Perhaps – in this time of climate change and AI and an increasingly unknowable future – we are all in a liminal space. Perhaps the revival of old rituals allows for direct human connection. Perhaps the wassail event, and others like it, encourages human connection in a fractured time. Perhaps they make the countryside into a sanctuary in unknowable times, and perhaps that is enough.

The Christian story does these things too, but I think it goes deeper still – it sanctifies time itself, embedding the rituals and seasons in liturgy, creating a steady rhythm that can hold community together without being dependent on trends or tickets. It is a story grown from a sacred supper, shared feasts, prayer, fasting, seeds, and rituals of death and new life. It is a story that binds together its hearers into relation and rhythm-making.

Christianity is not a neat ‘answer’ to the rootlessness and unbelonging of our time. But it offers old and tested examples of depth, continuity, and gratitude in ritual. It has of course long absorbed and re-shaped older rituals, born of older communities – like the Celts, who knew that place and time and land and people, animated by something beyond, could combine to create particular patterns and poetry which, when taken seriously, could deepen identity and togetherness with each other and the Earth. Christianity recognised this and built on it (and squashed it in places, but that is another story). I think that picking and choosing and bending old traditions, detaching them from time and place and cultural significance, even if just to remove religious baggage, reduces that old poetry to prose. It is no longer sustained by its original social and spiritual infrastructure.

Such an infrastructure, built over generations, connects us to a through-line of celebration, gratitude, lament, and renewal. Following this through line – which whether I’ve liked it or not has linked me to new and old expressions of the Christian faith – is what is helping me to find belonging and participation. The wassail I joined signified to me that I’m still on the search for belonging. I want to go to a Wassail event again, but I want to do it outside of the ‘machine’, in a place I am putting roots into, with trees that I help tend, lifting bread around a harvest table with others I am working to know. I still feel a tug to these old rituals, as if assessing their ability to provide orienting infrastructure to my life and to the life of community. But in this age of disconnection – of industrial food, global supply chains, loneliness – what I want is less curated experience and more real belonging. I hope to find a bit more of that at harvest time.

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