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Grenfell disaster
5 min read

The legacy of Grenfell

Marking the sixth anniversary of the disaster, Graham Tomlin looks to what its legacy needs to be.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Grenfell Tower, wrapped in a protective layer bearing the legend: Grenfell forever in our hearts
The Grenfell Tower protectively wrapped.
The blowup on Unsplash.

It is now six years since an electrical fault in a fridge in the kitchen of a fourth floor flat led to the fire in Grenfell Tower which killed 72 people – the worst loss of life in one single incident in London since the second world war. The rest of the country has understandably moved on, preoccupied by the COVID years, a cost of living crisis and the sheer pace of life, so that Grenfell has retreated to the back of our consciousness and conscience, yet for the bereaved and survivors, who live with the memory every day, these have been six very long years.

We are told the Public Inquiry will report early in 2024, so there is still more time to wait. Meanwhile, the remains of the creaking tower still stand by the Westway in north Kensington.

Whenever I speak to people about Grenfell, the most common question is ‘what is going to happen to the Tower?’

Yet there is the nagging fear from bereaved families and campaigners that once it is demolished, they, and their loved ones will be forgotten: ‘out of sight, out of  mind.’

The Tower left to its own devices would probably have fallen long ago. A damaged building like this gradually degrades over time, with the effects of gravity, weather, water seeping into the cracks which ice up in winter, leading to widening of those cracks, concrete falls and so on. As a result, there are over 4,500 props inserted into the building, keeping the creaking infrastructure standing. A large team monitors the building constantly, and it is relatively secure for the next decade if need be, despite the ongoing cost of the operation. The Tower continues to be covered with two linings of white wrapping plastic – an inner one which remains and an outer one that is replaced every year. Some local people would want to see the building come down as it remains a constant painful memory. Yet there is the nagging fear from bereaved families and campaigners that once it is demolished, they, and their loved ones will be forgotten: ‘out of sight, out of  mind.’ The ongoing presence of the building, standing alone by the Westway as a constant reminder to the thousands who travel into London each day, is one of the only ways they have to keep the memory alive.

So, looking into the future, what will the legacy of Grenfell be? Convictions of those found to be culpable may well follow and rightly so, if individuals or companies can be clearly identified as having deliberately acted in underhand ways that led to the installation of the highly flammable cladding, or carelessly caused this disaster.

Some people call Grenfell a crime. Some a tragedy. Perhaps both are right. So what do you do when a crime, or a tragedy occurs? What do we do as a society?

Grenfell was not an accident. As I said in my sermon at the fifth anniversary commemoration in Westminster Abbey a year ago, Grenfell “was not an unfortunate accident – it was the result of careless decisions taken, regulations ignored, an industry that seemed at times more interested in making profits and selling products than in the precious value of human life and keeping people safe in their own homes.” In Christian language, Grenfell was the result of sin.

When you recognise you have sinned, the way to begin to put things right is to repent. ‘Repent’ is a strong word, yet it talks about turning and going in a different direction. You recognise that you have done something wrong and you need to put it right. The last six years have revealed a pattern of cutting corners, deception and lack of care in the regulation of building safety. It has also revealed flaws in our housing stock. The government’s Levelling Up Bill gives some protection to those living in insecure blocks of flats, but does not yet protect innocent leaseholders from all the costs of remedying safety faults for which they were not responsible. Some leaseholders are in the fortunate position of having their developers agreeing to foot the bill to make things safe, but others aren’t, and are still facing high insurance premiums, remediation costs and are still waiting to see who will pay, how much will be covered and when.

The Earl of Lytton’s amendment to the bill offers protection to leaseholders by ensuring those responsible for safety defects at the time of construction pay up, or if the company no longer exists. The costs are covered by an industry levy, of money raised from those who have profited from cutting corners in the past, those on whom the Public Inquiry has shone an uncomfortable light. Passing an amendment such as this, that protects vulnerable leaseholders and places the costs on those responsible for them would be a fitting way to enact repentance, to ensure Grenfell is not repeated.

With a tragedy, however, you remember. The Grenfell Memorial Commission continues to meet and work on this very task. Conversations with the community continue and the desire is for a memorial that is peaceful, reflective, positive and respectful. A design team is to be chosen in the coming 12 months, with a view to a final plan being chosen by the end of 2024. The planning process and the building of whatever form of memorial is chosen will then start in 2025, to be finished some time later.

All this will take time and a further thing required beyond repentance and remembering - patience. A visit to the 9/11 memorial in New York recently reminded me how a memorial can help process and manage the pain of remembered tragedy and trauma. The site is comprehensive, respectful, dignified and unforgettable. The 9/11 memorial opened 10 years after the attacks, and the Museum, offering a detailed moment by moment account of the day and what led up to it, opened in 2014, 13 years after the event.

Remembering and repentance takes time and need to be done well. Repentance needs to be thoroughly thought through and enacted wisely. Remembering needs to emerge from deep reflection on what has happened and finding creative ways to being something positive and even beautiful out of tragedy. Neither need to be hurried, otherwise they will be done in a shoddy and off-hand way, which disrespects the memory of those who died.

For many, Grenfell may have dropped out of public consciousness. Yet societies, like people, are defined by the way they learn from mistakes and tragedies. Comprehensive building safety legislation and a dignified memorial that keeps the memory of Grenfell and those who died there alive for years to come will be the best legacy for Grenfell, even though it will take time. We are not there yet, but that future is worth waiting for.

Review
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Film & TV
Monsters
7 min read

I came for the demon-fighting pop stars and stayed for the existential crisis

A Netflix kids’ film made me rethink shame, friendship, and my Spotify algorithm

Harry Gibbins  is a doctoral researcher at the University of Aberdeen. His PhD concerns the intersection between autism and Christian ministry.

K-Popm Demon Hunters lean forward wielding weapons
Rumi and friends.
Netflix.

I am not the target demographic for the hit film K-Pop Demon Hunters. My knowledge of K-pop is incredibly limited, and I’m pretty apathetic about musicals. In fact, my only real encounter with K-pop was as a youth worker, where I distinctly remember its first ‘wave.’ Suddenly, groups of mostly teenage girls were eager to tell me all about BTS, a boy band that rose to popularity the late 2010s. Their dancing was impeccably choreographed, their lyrics a mix of English and Korean; for as much as it wasn’t my thing, I got the appeal. International media finding a place within the British zeitgeist has happened before. I’m of the generation where Pokémon did an excellent job of distracting me from learning my times tables. Yet, the seven very handsome boys that made up BTS seemed to cast a spell over my young people like I’d never seen.  

Flash forward seven years. Much has changed. A global pandemic is in the rear-view mirror, and I’m trying to find my place in the north-east of Scotland. I’m sitting in the car trying to simply transport my two wonderful daughters from Point A to Point B. Many parents will know of the strange hypnotic effects of children’s songs in the car. A fifteen-year-old Harry would be mortified to know that Metallica no longer feature in the top spots of my Spotify most-played artists. Now, upon that throne sits an assortment of Disney Princesses, and they rule with an iron fist. Today is different, however. “What do you want on today?” I ask, ready for that day’s third rendition of ‘Let it Go.’ “K-Bop Bear Hunters”, replies my youngest eagerly.  

Here, my daughter is trying her best to remember the name of a song she’s heard at gym class. I work it out eventually, K-Pop Demon Hunters, amused by the swapping out of ‘Demon’ for ‘Bear.’ My wife puts it on, and to my pleasant surprise, the songs are like a breath of fresh air. I read a bit about K-Pop Demon Hunters, working out that it’s an animated film on Netflix, and I get the general gist. However, I’m surprised to hear that it’s recently become the streamer’s most-watched film ever. My wife and I decide to watch it together that night, and I’m blown away. I’m seriously not the target demographic for this film, yet it has me completely hooked.  

The film follows the three members of a K-pop girl group, Huntr/x (pronounced hun-tricks). We quickly learn that Rumi, Mira, and Zoey, use the power of music to fight off demons, many of which are based on real Korean mythology. Their singing empowers a magic barrier, the Honmoon, that keeps the demons at bay; yet, trouble emerges when a demonic boy band arrives seeking to stop Huntr/x and allow demons to take over the world. High jinks ensue, there are some cracking songs, and, of course, a surprise romantic subplot.  

As the film ends, I find myself left with an unusual feeling. Ever since I was told as a boy that the big lion in Narnia was really Jesus, I’ve been intrigued by stories that tell me something of faith. Now, to be clear, I do not think the writers of K-Pop Demon Hunters set out to create a story about Christian faith; it would be very naïve and quite inappropriate to suggest a film so heavily inspired by Korean culture was actually about Western Christian values the whole time. However, I am still personally challenged by the themes it brings up, especially considering the film’s emphasis on belonging, togetherness, and authenticity.  

‘What It Sounds Like’ 

Rumi, our protagonist for this story, hides a secret, a secret which propels the events of the film. It is established early on that you can tell a demon in disguise by the intricate patterns on their arms; sharp tattoo-like symbols that resemble lightning bolts coursing across their bodies. As Rumi gets to the bridge of the song ‘Golden,’ we see her looking at herself in the mirror. The sleeves of her jacket sloping off her shoulders to reveal that she too holds these patterns; Rumi is part demon. This all happens in the first few opening scenes of the film. The audience holds onto this secret alongside Rumi as she tries to hide these patterns from her bandmates. She believes that her job is important, crucial even. The Honmoon must be protected; the barrier to the demon world must be strong. However, Rumi’s secret becomes a thorn in her side, risking their mission. This was where I saw the potential of the story roll out in front of me. What started as a colourful, poppy, sickly-sweet kids film developed into a tale that demonstrates the power of friendship, community, and love. To try and illustrate this more clearly, I want to pick up on some of the lyrics from the song sung at the film’s climax, ‘What It Sounds Like,’ tracing Rumi’s journey as she deals with the secret she hides. 

If ‘Golden’ was to set the stage, illustrating the juxtaposition between the song’s words and Rumi's insecurities, then ‘What It Sounds Like’ is the fulfilment of Rumi’s wish. Whilst Rumi originally sang of a duty that provided her strength, “cause we are hunters, voices strong and I know I believe,” now she recognises that she relies on her friends to go her through, “I don’t know why I didn’t trust you to be on my side.” The suspicion Rumi holds that her friend won’t understand the quite literal patterns she hides has only led to division; now, through the authenticity she has learnt to value, through the support of her friends who cast away their prejudices, a new reality is found where Rumi no longer holds shame for who she is.  

I am not surprised at all to hear that queer writers have acknowledged the allegory for the shame many queer people hold around coming out. Needing to hide a part of herself, Rumi demonstrates the philosophical cornerstone that has caused this story to resonate with queer folk. This is most potent at the crescendo of ‘What It Sounds Like,’ where all three girls come together and sing as one, “why did I cover up the colours stuck inside my head? I should’ve let the jagged edges meet the light instead.” What I believe is demonstrated here is a rejection of the thin understanding that ‘Golden’ prioritised. Originally, these bandmates came together because of a responsibility that has been placed on them; demons are bad, get rid of them. Now, a more nuanced reality emerges. As the light spills out of them, meeting these “jagged edges” of life like a prism, the world no longer seems as black and white as they first believed. Rumi, being part demon, is not in conflict with their desire to love each other. 

Carrying and caring 

Fantasy writing does a good job of using a physical object to represent the philosophy of the story. The One Ring in The Lord of the Rings both represents the burden Frodo carries and is literally the burden he carries. K-Pop Demon Hunters takes a similar approach, just not physically. As Huntr/x sing of the scars they carry, of covering up things they thought would lead to discrimination, they acknowledge that they have “listened to the demons, we let them get between us.” The fight they have is with magical creatures from the underworld, yes. But these demons also represent the division between Rumi and those she cares about. However, this shame is rooted in reality; we see early on that Rumi’s friends probably wouldn’t understand her part-demon heritage. What is needed here isn’t for Rumi to simply rip the plaster off and be honest. The shame she feels might well be internal, but it is still projected upon her by the attitudes of others. Instead, as demonstrated by the lyrics, it is only through a genuine life-giving care for one another that these three friends can come together to conquer darkness.  

To summarise, K-Pop Demon Hunters spoke more to me about the human experience of community, friendship, and togetherness than most so-called ‘grown-up’ films have ever managed. I am pleased that a film that, I imagine, my children will watch over and over again holds such a comforting message. Against a backdrop of children's media that only exists to empty my wallet, K-Pop Demon Hunters—against all my assumptions—truly demonstrates the artistic value of animated films. I look forward to the enviable barrage of sequels and copy-cats. 

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