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4 min read

How to react in an era of social media outrage

Media executions and the quality of mercy.

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

A man in a suit stands on a gallery above a cavernous space in which are rows of desk
Huw Edwards stands above the BBC news room.
BBC.

The story of Huw Edwards presents challenges to anyone who wonders how to respond appropriately. The news anchor is back, on the news agenda rather than presenting it, having resigned from the BBC on “medical advice”. In news terms, it seems a long time ago – nearly a year – when stories emerged that he had paid a teenager for what are blushingly called “explicit images”. 

His departure, rather belatedly said to have been inevitable, follows disclosures that he has continued to draw a very handsome BBC salary during his suspension from duty – and one that the corporation would rather not still be paying when it publishes its annual review of figures shortly. 

The difficulties come when, putting aside prurience and distaste, one scrutinises why exactly the life and career of Edwards have been ruined. The police wasted little time last year in concluding that there was no evidence that a criminal offence had been committed. All that is left is a salacious whiff and the knowledge that Edwards has suffered a depressive breakdown of some sort 

But that’s more than enough to make a major story in the era of peak social-media faux outrage. Think Philip Schofield, life ruined by stupidly lying about a fling with a much younger colleague (of consenting age). Think Caroline Flack, a reality actor with demonstrable mental health issues, hounded to her suicide. Think even the internet-sleuthing landslide that threatens to cover and suffocate comic Richard Gadd’s “true story” Netflix movie, Baby Reindeer.

While forgiveness liberates the forgiver (rather than necessarily the one being forgiven), Christians need to be wary of using forgiveness as a get-out-of-jail-free card.

So how to respond to the Edwards resignation? The question supposes that we must indeed respond and that might contain the principal point. A senior news anchor with the BBC is a public figure. As such, he (or she) needs to be trusted by the public. Consequently, Edwards is called to a higher standard of behaviour than that of his invisible viewers. 

Serious people in serious jobs need to be taken seriously. And anyone caught with their pants down, literally or figuratively, cannot look serious.  

Yet that still doesn’t supply us with a response (beyond “don’t be an idiot”). Actually, it rather complicates matters. It’s easier if a crime has been committed, because we can take refuge in justice, reparation for the victim and punishment for the perpetrator. None of this seems to be available in Edwards’ case. 

Some will reach for forgiveness under these circumstances. But that’s insufficient, since for most of us Edwards has done nothing more than read the news off an autocue and speak for the nation during royal events.  

We risk disempowering a real victim if we forgive on their behalf, so it’s inadequate to talk only of forgiveness in this circumstance. While forgiveness liberates the forgiver (rather than necessarily the one being forgiven), Christians need to be wary of using forgiveness as a get-out-of-jail-free card. 

 

By contrast, “the quality of mercy is not strained” in this way through our mortal experience. It’s universal and unqualified. 

In any event, forgiveness is a quality of compassion, the latter being the virtue to which we might most usefully aspire in response to the circumstances in which Edwards suffers. The root meaning of compassion is “to suffer with”, as in to share and, in doing so, profoundly to understand the suffering of another. In popular parlance, it might be to walk a mile in their boots. 

To view the media execution of Edwards with compassion is to walk a mile in his boots and to accept, with humility, that we can be as fallible as him. Vitally, this is to show mercy rather than pity. The latter is filtered through human experience – Pieta is a Renaissance artistic meme, which invariably shows the Virgin Mary’s essential humanity at the deposition of her son from the cross. 

By contrast, “the quality of mercy is not strained” in this way through our mortal experience. It’s universal and unqualified. Shakespeare’s famous line is given to Portia in The Merchant of Venice. One of the things it tells us is that to pity is human, but to be merciful is divine.  

It’s from theological, cardinal virtues that mercy flows. But it’s born of compassion, which has its Christological source in the suffering (or Passion) of Christ, in which the human condition – sin, frailty, pain, death – is shared with the divine. 

That’s a worldview that holds Huw Edwards in its gaze. It’s a wholly loving gaze that seeks to share his despair and failure, which is the ultimate act of compassion. Edith Cavell, the nurse who was shot as a spy in Flanders in the First Word War, came very close to it when she said before her execution: “Patriotism is not enough. I must have no hatred or bitterness towards anyone.”  

Edwards doesn’t (literally) face a firing squad, so direct comparison is invidious. But our response might still be a compassionate one. We may not be able to walk a mile in his boots. But we can try. 

Review
Art
Character
Creed
Easter
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5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A man looks up a shaft of light that illuminates him and a crucifix higher up a wall.
I Accepted, 2025.
Richard Foster.

The seeds of faith were sown in the life of Nic Fiddian Green by his father. As he has explained recently, he “was shown a way and a faith, and an understanding around the faith of Christianity, in the way my father lived”. 

Later, his wife-to-be, Henrietta Hutley, asked him to help create Stations of the Cross for the Wintershall Estate in Surrey where, today, The Nativity and the Life of Christ are regularly performed. Henrietta’s father, Peter, wrote and brought The Passion of Jesus to Trafalgar Square, while her mother, Anne, had the vision for the Stations of the Cross project after a life-changing visit to Medjugorje. 

Fiddian Green says that “The Face of Christ has been with me for over 40 years” and that he has “searched for His face through my art as part of my spiritual journey, and also in the work of many others – especially Renaissance artists like Giotto, Piero della Francesca and Michelangelo”. 

Fiddian Green, who is internationally celebrated for his monumental equine sculptures, has created a deeply personal and spiritually resonant exhibition entitled The Face of Christ. The exhibition features 20 new sculptures including works in bronze, copper, lead, marble, plaster, and silver, together with a series of drawings. The exhibition ranges from the Nativity to the Resurrection but focuses primarily on the crucifixion.  

The exhibition is deeply personal for Fiddian Green because it is informed by the harrowing encounters he had with an array of life-threatening illnesses a few years ago. These caused an obvious and honest creative re-assessment and it is from these experiences that a stronger, deeper and more contemplative vision has emerged. One that permeates the new work via modes of stillness and reflection.  

The Face of Christ offers a profoundly meditative engagement with the image of Christ, capturing a sense of serenity, resilience, and transcendence in bronze and stone. In these works, he shows us how his spirit and his faith help him triumph over the physical as he explores the enduring power of faith, suffering and redemption. In the eyes of his work, we feel pain, strength, fear, wisdom and more as he asks questions of the viewer that leave a powerful and spiritual resonance. 

Fiddian Green says: “These works are a reflection of my journey of faith. I have come to find that His power to elevate us underpins everything I strive to do and The Face of Christ is an attempt for me to convey in my work all that He conveys in my heart. Christ gives me the key, but will I open the door…?” 

While the exhibition focuses on the crucifixion and the face of the crucified Christ, the expression on Christ’s face is generally one of peace, rather than pain. In part, this is because many of the heads of Christ included are images of Christ resting in death prior to the resurrection. The brokenness that the crucifixion brought is shown in these images through damage to the body of Christ, as opposed to the expressions on his face. This is most powerfully the case with ‘Broken for You’, a bronze crucifixion sculpture where Christ’s torso, as well as being scarred by a long spear-like fissure, has also been fractured with the two parts fused together using brace brackets. Similar fissures appear on other of the crucifixion sculptures but ‘Broken for You’ goes furthest in graphically showing the pain Christ endured on our behalf. 

It seems to me that Fiddian Green could go further in revealing the horrors that Christ endured and that his love of Renaissance art with its focus on beauty and balance might hold him back in this regard. Another artist to have regularly depicted the Crucifixion in images shown in mainstream galleries in recent years is Peter Howson, whose images of the crucifixion are much more expressionist graphically capturing the depth of pain that Christ endured. Fiddian Green’s drawings, more than his sculptures, tap into the sense of pain endured, particularly ‘This Storm will Pass’, a partial image of the face of the crucified Christ which in its frenetic pencil-marks and incomplete state speaks particularly powerfully. 

Fiddian Green, by contrast, primarily gives us a sense of the peace that he receives from Christ on the face of Christ. ‘I Forgive’, a bronze head of the crucified Christ depicts the love with which Christ looks on us as he endures the cross. ‘Christ is Laid to Rest’ is a huge head encircled by a crown of massive spikey thorns with green verdigris overtones suggesting the sweat and blood of anguish which has led to the completion of purpose that Christ finds in death. ‘Peace’, a plaster sculpture of Christ’s head, is also redolent of the supreme achievement of the cross; ‘It is finished’, meaning that all his work is complete and done, enabling him to rest and enabling us to enter rest.  

In these images, Fiddian Green is reading back into the events of the crucifixion the outcomes that it gains for us and showing, in his Christ figures, the peace that he personally finds in the love and forgiveness which overflows from the crucified Christ to each and every human being throughout time and history.  

Fiddian Green writes of having “been given materials to use by the God of heaven and earth” – those materials of the earth that he uses in his sculptures – and says that “it is my hope that some of these pieces may rest and resonate with those who see it; that they may find a deep connection by gazing on the works which takes the eye, the heart and the soul to the One who helped me create them”.  

While Lent, Holy Week and Easter are often times when art is offered to enable us to walk in the footsteps of Christ it is not common for commercial galleries to specifically invite meditation on these events, so don’t miss the opportunity for contemplation that the Sladmore Gallery is providing through this exhibition. 

 

The Face of Christ, 10th April – 2nd May 2025, Sladmore Gallery, London.