Review
Books
Culture
Politics
4 min read

Is it OK to pray for the death of a dictator?

What happens when the mighty lose their thrones.

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

Bullet holes on a wall and white paint outlines mark the site of an execution
The wall where Nicolae and Elena Ceausescu were executed.
NPR.

The end, when it comes, can be nasty, brutish and filmed. 

Muammar Gaddafi, self-styled Brotherly Leader and Guide of the Revolution, spent the last moments of his life cowering in a Libyan sewer after an air strike on his convoy. On discovery, a mob subjected him to some ghastly final abuses before death – the kind of ending he had mercilessly condemned thousands to. It was almost biblical in its parabola, and it was recorded on a wobbly camera. 

But it was not the first of its kind in this generation. On Christmas Day 1989, the disfigured face of Nicolae Ceausescu was broadcast on TV following his summary execution by hastily assembled opposition forces in Romania. Only days previously, he had been an unassailable dictator.   

Vladimir Putin has spoken about Gaddafi’s ending, and it clearly troubles him, but perhaps Ceausescu’s death is lodged in the dark recesses of his mind because it was the one bloody end of all the communist leaders of eastern Europe. 

Being a dictator is an all-consuming job. Too many domestic and foreign enemies are made along the way for the dictator to drop their vigilance. And their downfall often comes at the hands of those closest to them; by definition, these people know the dictator’s movements and weaknesses better than others and are best placed to exploit them. The military must be equipped to suppress dissent, but give it too much power and the generals pose a risk to the dictator. Yet if the military lacks the hardware, control of the population becomes harder. Many dictators surround themselves with specially trained loyal guards to defend against the military, but the rule of terror means no-one speaks the honest truth and so risks appear everywhere. No wonder dictators are usually paranoid and themselves racked with the fear that a culture of capricious violence induces in everyone.     

These and other theories are explored by Marcel Dirsus in his compelling book How Tyrants Fall (John Murray, 2025). Dirsus notes how dictators require money, weapons and people to survive in office and for the elites around them to believe these goods will remain in place. They also need to immerse the surrounding elites in blood guilt, so that their fate becomes entwined with the dictator’s; Saddam Hussein compelled others to join him in the murder and execution of opponents. 

For Dirsus, there are two ways to topple a tyrant. The most direct is to take them out, but this is rarely straightforward. Coup attempts are often shambolic in their planning and even well-orchestrated ones usually fail; the consequences for those implicated are always horrendous. The second route is patient and pragmatic, looking to weaken the tyrant, strengthen alternative elites and empower the masses. External powers often have minimal influence unless, like the US in Iraq, the country is invaded and the tyrant deposed. Sanctions often fail to hurt the elites; a state’s geographic proximity to the tyrant’s nation can be useful, as it gives a base from which opponents of the regime can work. 

Modern technology is changing the face of political action, making it easier for large groups to mobilise against regimes, as seen in the short-lived Arab Spring. It also enables dictators to track opponents more successfully than even the feared Stasi in East Germany. Right now, it feels like the tyrants are ahead in this game. 

Shortly after the full-scale Russian invasion of Ukraine in February 2022, a friend said to me that he was praying for Putin’s death or downfall. I asked him how sure he was that the person who replaced Putin would be better. If the pragmatic route for toppling a dictator involves strengthening different elites and empowering the masses, the likelihood is that the elites will take over, not the masses. Dictators never allow the components of civil society to form; democratic institutions take decades to build.  And they rarely anoint successors in advance, for fear alternative power bases are created. When dictators fall, it usually leads to initial chaos and violence before another elite can establish itself from which a new dictator will emerge.   

In her inspired song of praise at the news she would give birth to the long-awaited Messiah, Mary observes how God ‘has brought down the powerful from their thrones and lifted up the lowly’.  It is a role reversal typical of St Luke, recorder of Mary’s song, a gift of eschatology many want realised today, not just in the world to come.  When the powerful are brought down from their throne today, they are typically replaced by the next most powerful person, and if the throne remains vacant or is contested, what follows often feels like the spirit that went out of a person in Matthew Gospel returning with seven other spirits more evil than itself, meaning ‘the last state of person is worse than the first’. 

This need not be a counsel of despair, but a call to informed intercessory prayer which is short on controlling advice for God’s geo-political strategy, and long on the wisdom and patience of the one throne that endures.  

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Review
Culture
Film & TV
Monsters
Race
4 min read

Sinners is standout thanks to Ryan Coogler and his ‘no stupid people’ rule

A cleverly choreographed culture clash between the living and the un-dead.

Giles Gough is a writer and creative who host's the 'God in Film’ podcast.

Two actors in 1930s clothes sit in an open car while the film director gestures towards them.
Delroy Lindo, Michael B. Jordan, and Ryan Coogler.
Warner Bros.

Coming off the back of Black Panther and Creed, Ryan Coogler fights off franchise fatigue with Sinners, a historical crime drama turned horror film that might be his most personal film yet. Set in 1932, Michael B. Jordan plays twin brothers returning to their hometown in rural Mississippi to open a juke joint. But a trio of guests, both unwelcome and undead, crash their opening night. 

Any film set in the Jim Crow era South following a Black protagonist can set off warning bells for savvy audiences. The blatant racial oppression can often bring with it a fair share of trauma porn. But that’s not what Sinners is about. For a significant chunk of the run-time, the film is downright hopeful. Jordan’s dual role as the brothers Smoke and Stack presents them as dangerous and driven, but also compassionate, responsible and endlessly charismatic – the type of figures who could easily become folk heroes. There’s a scene where Jordan’s Smoke not only employs a young girl to watch his truck, but also teaches her how to negotiate, doing himself a worse deal in the process. Watching them recruit musicians, cooks and sign-painters for their juke joint from the under-appreciated and under-paid is a compelling exploration of Black enterprise. 

As night descends, and the juke joint opens for business, this peek into Black enterprise turns into a delightful celebration of Black joy. Chris Hewitt of Empire magazine referred to this film as a ‘stealth musical’ and it’s not hard to see why. Almost every main character gets a musical interlude of some sort. The standout by some distance is newcomer Miles Caton, who plays Sammie, the guitar-playing cousin of Smoke and Stack, who they recruit as the centrepiece of their entertainment for the night. Sammie is at the centre of a musical sequence that will have you leaning forward in your seat in amazement at what cinema is capable of. This film brings with it its own mythology, telling us that there are people whose music is so transcendent, they are capable of piercing the veil between the past, present and future. Sammie is one such person, and his talent attracts everyone for miles around, including ancient Irish vampire, Remmick, played by British star, Jack O’Connell.  

Perhaps what’s unusual for a vampire film is that, as an audience, we’re having such a good time at the juke joint, we can almost resent the imposition of the vampires forcing themselves into the narrative. The racial parallels of these monsters might not be as obvious as the ones you find in Jordan Peele’s Get Out, but they are still there. Remmick, as the head vampire, gains the memories of each of his victims, and he wants Sammie’s abilities as a means to communicate through time with those he’s lost. (Yet another example of Ryan Coogler’s ‘no stupid people’ rule. Every character has a convincing reason for doing what they do, even the blood suckers.) The vampires here are drawn in by the music and can represent a white ruling class that wants to exploit Black music for its own purposes, in much the same way that culture vultures took music of black origin like the blues and rock, and popularised it with more palatable white artists like Elvis Presley.  

The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session.

Perhaps another reason why vampires are such a popular monster to revisit in western culture is how they are a literalised inversion of Christianity. In the same way that Christians are promised an eternal life through the blood of Jesus Christ, vampires get immortality through drinking the blood of their victims. Even the rule where vampires can’t enter a private building without permission could be seen as warped version of the image of Jesus standing at the door of our hearts and knocking as shown in Revelation, the last book in the Bible. Vampires are a perverted vulgarisation of what it means to be a follower of Jesus and this, on an unconscious level as a society, might be why we find them so fascinating. The way the vampires use words like ‘fellowship’ to make their dark gift sound more appealing to those still inside the building suggests Coogler is conscious of this parallel. The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session, further emphasises how music can bring people together.  

There are so many fascinating aspects to the film it’s impossible to mention them all, which might be deliberate on Coogler’s part, as he tells EBONY:  

“I wanted the movie to feel like a full meal, your appetizers, starters, entrees and desserts, I wanted all of it there.”  

While this does mean a sequel is unlikely, and some critics have complained of it being over-stuffed, it does mean that the film will richly reward repeat viewing.  

By now, Sinners will have no doubt secured its spot in many critics’ top films of the year. Ryan Coogler’s Sinners could so easily fall apart in the hands of a less skilled storyteller, but in the hands of one of the best directors of his generation, it absolutely sings.  

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

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