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
Fun & play
Justice
5 min read

Boom! I love this new Superman!

Eschewing ennui, it’s a great fairy tale for the modern age
Superman talks to his dog amid the ice.
Superman and Krypto the dog.
Warner Bros.

…and that’s what makes this film so enjoyable! 

Oh, apologies for any confusion.  

No tortuously ‘relevant’ preamble from me today. I’m starting the review right in the middle of the action, because that is exactly what Superman does. No initial slog through a ‘backstory’ that everyone knows – even my wife, who has never read a comic book in her life, is familiar with who and what Superman is. The closest we get to contextualisation is a quick sequence of text: informing us that Superman landed 30 years ago (adopted by the Kent couple, and given the name Clark), began his superhero career three years ago, stopped the fictional nation of Boravia invading the equally fictional Jarhanpur three weeks ago, and three minutes ago lost a battle for the first time. 

Boom! 

Then straight into the action! 

Superman lands in the frozen tundra of the Antarctic and can barely breathe. He lets out a whistle and the next thing we know there is a tremendous snowy disturbance. Krypto the Superdog dashes into view! No explanation – just delight in the fact that there is a mischievous canine with unbelievable power. Krypto drags Superman ‘home’ to the Fortress of Solitude. There the Superman robots heal him with a concentrated dose of radiation from the Yellow Sun which gives him his power. He immediately departs to continue his bout against the nationalist supervillain ‘Hammer of Boravia’, who is secretly being controlled by the evil genius and billionaire Lex Luthor. 

The pace of this film isn’t fast…its hypersonic. It flies by at the speed of Superman himself. There isn’t any lag, any let up. Even the quieter moments, such as those meditating on Superman’s dual identities (the alien superhero Kal El/Superman and the human reporter Clark) or his burgeoning relationship with investigative journalist Lois Lane, keep the story moving. Exposition doesn’t take place through inexplicable monologues; it is always pacy conversation, which teaches us something about the characters and their relationships and their motivations. 

This is the great triumph of writer/director/producer James Gunn. After his success over at Marvel Studios, he has taken the helm of DC and started to create a universe of characters and stories that doesn’t waste time with painful ‘exploration’ and moralising. This was always the issue that held DC films (arguably featuring the more beloved and well-known characters in comic-book culture) back from matching the success of Marvel. Christopher Nolan is a genius, giving us a superb Batman trilogy, and Zac Snyder produced an underrated dark take on Superman, but neither seemed to delight in the bright, bubble-gum, kaleidoscopic colourfulness of the comic-book medium. 

Gunn refuses to make his Superman film gritty or realistic. Characters appear in all their flash and bombast and are welcomed as cheery additions. The ‘Justice Gang’ are simply there – including the always enjoyable Nathan Fillion with an arrogant smirk and an almost offensive bowl cut. Luthor’s genius allows his to create a parallel dimension…why couldn’t he!? If we can suspend our disbelief to accept a protagonist who is an alien superhero, why not a mini-universe?  

There is none of the former focus on psychological trauma and existential crisis and the sheer overwhelming ennui of being. In previous films the ethical lesson wasn’t just ‘on the nose’…it flattened your nose with a Mike Tysonesque haymaker! Here, Superman simply IS. He IS good. He IS upstanding. He IS fighting for truth and justice. He refuses to allow political and public-relations considerations to corrupt and dilute his absolute commitment to do (and to BE) what is right. One of the most dramatic scenes isn’t a grand battle, it is a quiet moment where Clark allows Lois to interview him as Superman. The more she questions the realpolitik implications of stopping an invasion, the more Clark becomes incensed. How could someone not allow themselves to save innocent life and serve justice to the oppressed against the oppressor? 

The film is such a ‘sigh of relief’ in a bloated comic-book-film market. Yes, the script is hilarious – this is Gunn’s forte. Yes, the music is sublime – both John Murphy and David Fleming’s score (with wonderful nods to the John Williams original) and Mr Gunn’s own needle-drops. The performances are excellent across the board – special mention to David Corenswet, who doesn’t quite look like Superman to me…but boy does he embody the very essence of the character, to the point where you can’t imagine anyone else having played the alien since Christopher Reeve. But its truest strength and victory is its joy in the simplicity (especially moral) of this comic-book genre. 

This is what is so refreshing about Gunn’s vision. Superman IS pure. Lex Luthor (Nicholas Hoult not missing a baldy beat) IS so prideful and vain that it has warped him into something twisted and evil and collapsing in upon his own ego. Watching the film, I was put in mind of C. S. Lewis’ writing on the nature of fairy tales: 

“For in the fairy tales, side by side with the terrible figures, we find the immemorial comforters and protectors, the radiant ones…” 

Comic-books are the great fairy tales of the modern age…why would we make them brooding deconstructions of the human condition, a la Cormac McCarthy? That isn’t their point or purpose. Lewis again: 

“Since it is so likely that they [children] will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.” 

Gunn has given us a film that isn’t just fun and fluffy, but important. In his sugary, childlike wonder and delight in the genre, he has given us a tale of good versus evil that is a true fairy tale: something gleaming and good, something radiant and right, something attractive and aspirational. Superman is a fairy tale where we can be comforted and emboldened by the moral (nay, ontological!) certainties of love and hope.  

5 stars

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