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Nationalism
5 min read

I protested against the Unite The Kingdom protest

The need to see one another

Thomas is a writer exploring the intersection of faith, politics, and social justice.

CCTV footage show two rival protests divided by a line of riot police.
CCTV image of the rival protests on Whitehall.
Met Police.

I don’t know why I was so concerned about the horses. I kept noticing them swaying through the sea of shivering bodies. I was so drawn to them that I tried to take a photo, a rare occurrence for me, but I was too far away. The horses riders, dressed in full riot gear, were being pelted with beer bottles. Maybe the horses were getting hit too, but it felt like they were recoiling on behalf of their riders. 

In front of the horses, engulfing Trafalgar Square, were tens of thousands of “Unite the Kingdom” protestors. From what I could see, they were predominantly white men. Many of them were dancing and waving flags, but a sizeable contingent was furious, drunk, and insisted on attacking any unfortunate police officer in their way. 

Behind the horses, lining the streets of Whitehall, were five thousand counter-protestors, including me. Unlike our opposite numbers in Trafalgar Square, we were trapped, surrounded on every side by St George’s flags, Union Jacks, and, oddly, some Georgian flags too. Maybe the shop had sold out. To my right, I could see the counter-protestors defiantly dancing. To me left, I could see a group chanting “Nazi scum, off our streets” whilst swearing towards the St George’s flags. 

There in the middle, I found myself feeling a curious mixture of discomfort, sadness, and anger. Uncomfortable because I’d been trapped for four hours, stuck on a continuous cycle of rinse and drain. Sad, because I knew that much of the “Unite the Kingdom” violence was built on misinformation and the scapegoating of refugees, a group I know well, and because this fog of violence blew over the counter-protestors as they hurled insults towards the St George’s flags. And angry, because figures like Elon Musk were using their extraordinary wealth and influence to spread fear and lies: “Whether you choose violence or not, violence is coming to you. You either fight back or you die. You either fight back or you die. And that’s the truth. It’s only a matter of time till that happens to towns and villages. It will spread. And no one will have any peace.” Over the years, I have spent many hundreds, if not thousands, of hours with refugees and asylum seekers, both in my home and at my church. I had experienced no violence. In that moment, I was surrounded by “leftists”, socialists, and trade unionists, and the only violence I was experiencing was from the glint of beer bottles raining down on the police two hundred meters away. 

I was grateful for the interruption of an elderly lady asking if she could get past. I’d been asked a number of questions throughout the day, primarily because I was one of a group of four Christians holding signs like “Jesus was a refugee”, “love thy neighbour”, and “I was a stranger and you welcomed me”. At the start of the protest, an older lady and a young man joined our circle. The young man asked “I’m glad to see there are some Christians here. What do you think of Christian nationalism? Your religion doesn’t feel much like Jesus?” He was a brave Saudi Arabian refugee with a bright smile, earnestly questioning the fractures in my community of faith. Taken aback by the poignancy of the question, I fumbled a response before being rescued by one of my friends. 

Protest signs written on cardboard.
Tommy's protest signs before the rain.

 

After a while, the older lady started speaking. “Sorry for interrupting. I used to be a Roman Catholic, but I’ve lost my faith. On days like this though, I always want to pray. I don’t feel much hope for the church. A while ago, I went into a catholic church. I asked if the church could do anything about the divisions in our community and the anger at refugees. The priest shrugged and said no. I’m glad you’re here.” Her short, staccato sentences mirrored the tension of the day. I told her about how our church serves refugees, how I struggle with the anger of days like today, and how some of us have forgotten that the bible tells us to welcome the stranger dozens of times. As they walked away, I felt touched by the honesty both the young and old had gifted to four strangers, and I was glad to be carrying our smalls signs of hope. 

The megaphone brought the present back into view with another question. “Could everyone please get ready to leave up the left of Trafalgar Square?” it said. The police had cleared a path for us to leave, the sea of flags artificially parted by riot gear. We were escorted to Green Park tube station, at which point we turned off towards Oxford Street. My wife remarked at how quickly normality returned. I was devastated by the day, but felt too tired to weep. I wasn’t quite the same Tommy that I’d been that morning. The man who shares my name, and the chaos he wrought on my city, had turned a dial in me a little further than it had been turned before. 

I knew that I would have more days like this. In the midst of my discomfort, sadness, hope, and fear, I knew that I was supposed to be there, holding my soggy “Jesus was a refugee” sign, shivering in my damp clothes, and praying under my breath. I knew that I needed to gather other reluctant protestors alongside me, holding their own soggy signs and praying their own prayers. 

And I also knew that there was a better way to carry this fragile message of unity in our increasingly fragile land and increasingly fragile time. As a half-British, half-South African man, I’ve had the privilege of growing up with the stories of the anti-apartheid movement, stories which steward the hard-earned truth that defiant, tenacious, persistent love is the only antidote to hatred, misinformation and fear. As Desmond Tutu once said, “when we can accept both our humanity and the perpetrator’s we can write a new story”. Saturday left me feeling that we desperately need a new story, and that requires us to look beyond the swaying horses and see one another clearly. 

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Review
America
Culture
Film & TV
Politics
5 min read

Trump: from apprentice to master of contempt

The Trump biopic is a morality tale for our times
An 1980s business man looks contemptuously at the camera.
Sebastian Stan as a young Donald Trump.
Scythia Films.

He won. Donald Trump is, once again, the President of the United States. The controversial property tycoon, controversial ‘billionaire’, controversial reality TV star, and highly controversial one-term (or so it seemed) President, has done it again! Sweeping not only the Electoral College but also the popular vote, Trump will have another four years to ‘Make America Great Again’…whatever that means. The question on most pundits’ lips today is: how? The man who was written off from the first moments he descended into his campaign on that golden escalator; the man who was guaranteed to lose his first (let alone his third!) Presidential bid; the man who has been mired in sexual, financial, constitutional, and legal scandal…how could he win again!? 

Rather than seek answers in the election coverage of last night I went to an alternative source of information. I popped down to my local cinema to watch The Apprentice, Ali Abbasi’s biopic of Trump’s rise to power and prominence, focusing on his ‘apprenticeship’ under pugnacious, pugilistic, flamboyant, and flamingly foul-mouthed lawyer and mentor Roy Cohn. Whether consciously or not – and believe me, it’s so consciously on the nose as to feel like a punch to the nose – the film draws a ruler-straight line from Trump’s early days as Cohn’s disciple to his electoral success in 2016…and now in 2024. 

How did Trump win, not once but twice…? 

…by selling his soul to the Devil. 

We meet Trump and Cohn in an exclusive New York Members Club. Trump is shy and awkward – none of the bombast we know him for – clumsily trying to impress his date by mentioning how he is the youngest member to ever be admitted. Cohn is holding court with some mob-coded friends. Cohn stares at the handsome, golden-haired ingénue (Trump, not his date) across the room through sunken domes. He invites Trump to join him for dinner. The date has gone to ‘powder my nose’ and seemingly has made a lucky escape through the lavatory window. Trump joins Cohn. Cohn bloviates, always with his hand firmly gripping Trump’s thigh. Trump is enamoured…smitten…in love. Cohn becomes his lawyer and Trump his protégé. 

The film goes on to chronicle how, under Cohn’s tutelage, Trump becomes the man we now know. Cohn is committed to winning – under the guise of being committed to America. He teaches Trump his three rules for success:  

  1. Attack, attack, attack. 
  2. Admit nothing. Deny everything. 
  3. Even in defeat, claim victory.  

There is a nice bit of mirroring in the final scene as we see Trump regurgitate these rules, introduced pithily and wittily in the first 30 minutes of the film, in his final exaggerated and bloviated style to a ghost-writer employed to write The Art of the Deal. This is how Trump wins. Throughout the film we watch Trump evolve from the nervous young man, protective of his alcoholic brother and under-the-thumb of his overbearing father, into a monstrous, ad absurdum form of Cohn…a man who will demand absolute submission to his will. 

The film, I wager, is partly a morality tale. It gives us a (slightly) sympathetic young Faustus, and chronicles his descent into Hell, but without a hint of real redemption or pity.

The film is sickeningly enjoyable. Sebastian Stan gently invites us to root for Trump in his timidity, and transforms with a subtlety which leaves the audience questioning their own culpability. Maria Bakalova brings a good-natured innocence to Ivana Trump (née Zelníčková) which steals the few scenes she’s afforded. Jeremy Strong – always watchable – brings his magnetic charisma to the screen. His Cohn is akin to Pacino’s John Milton in The Devil’s Advocate: delightfully chewing the scenery and ingratiating himself to the viewer while being hateful. The film is just over two hours long but doesn’t feel it. Never dragging, never boring. The soundtrack revels in the period, and the needle-drops are near perfect. It’s a really rather fun watch. 

However. 

The film is not nourishing. It is the cinematic equivalent of the junk food that leads to Trump’s expanding waistline (and the liposuction scene that is so difficult to watch). The film painstakingly draws parallels between Trump’s early success and his later political career. Cohn’s rules, Reagan’s campaigning slogans, the arrogance, the (sexual!) violence…everything we associate with Trump today is found in its nascent form in his 1980s career. Yet, none of it really matters because we have no character we want to attach ourselves to. No one, except perhaps Trump’s mother and his first wife, neither of whom have the chance to make enough of an impact, is likable or redeemable. Cohn is slime personified, until a sudden AIDS related conversion to conscience, and we don’t see nearly enough of the pathetic and put-upon Trump to care about his descent into the demonic realm of absolute self-absorption. The script is razor-sharp, but not incisive. The characters are riotously funny, but nowhere near emotionally engaging enough. 

The film, I wager, is partly a morality tale. It gives us a (slightly) sympathetic young Faustus, and chronicles his descent into Hell, but without a hint of real redemption or pity. Mortality makes Cohn recognise the monster he has been the Dr Frankenstein to, but in about ten minutes. We see a relative innocent made villain, but barely having had the chance to care for him in his infancy. No amount of slick script or genuinely bravura performance (Jeremy Strong deserves an Oscar) can make up for the cold and emotionless lens that the film has. In a sense, this gives us a more realistic explanation of Trump’s victory than the film seeks to muster…disdain. 

Like Trump, I deployed ‘alternative facts’. 

I lied. 

I did watch some of the election coverage in the early hours of the morning. As the Trump victory became inexorable, I watched pundit after pundit – who had been excoriating Trump supporters as either stupid or malign only 24 hours before – earnestly explain that it was a lack of engagement with middle-America which had lost it for the Democrats. Tony Hinchcliffe may have made a predictably unpleasant joke about Puerto Rico being a ‘garbage island’, but it was Biden calling even reluctant Trump voters ‘garbage’ which swung the election. We live in a new polarised age where the genuine concerns of the ordinary man or woman, if they can be associated with someone as aesthetically and morally compromised as Trump, make them functionally fascist.  

The Apprentice, simply by being unable to empathise with anyone not in favour, gives us the secret to Trump’s victory. It wasn’t Cohn’s rules. It was his overactive ability to demonstrate his contempt for everyone, and therefore seem to have contempt for no one. His detractors demonstrated the reverse. In the end Trump hasn’t needed to attack, or deny, or claim illegitimate victory. He simply has had to be himself. 

Saaaad. 

 

**** Stars