Review
Community
Culture
Film & TV
Romance
5 min read

Nobody Wants This: the rom-com for tense times

Warning: contains warm depictions of strong community and belief.

Lauren writes on faith, community, and anything else that compels her to open the Notes app. 

A couple together on a sofa watch a laptop,
Kirsten Bell, Adam Brody.
Netflix.

I hope places of worship are ready to be inundated with hopeful singles, because it seems there is a market for spiritual authorities as romantic leads. 

In its latest hit, Nobody Wants This, Netflix saw Fleabag’s ‘Hot Priest’ and raised us ‘Hot Rabbi’. Through ten half-hour episodes – so watchable that it is easily viewed in two sittings or less – we follow the unlikely love story of recently single rabbi Noah, played by Adam Brody, and agnostic sex podcaster Joanne, played by Kristen Bell. The pairing of ‘a rabbi and a sex podcaster’ may sound more like the opening of a politically incorrect joke, but after an impressive 15.9 million views in its first week of streaming, it’s clear that somebody wants this. 

“Tonally, we’re at such a tense time,” shared Brody, as he tried to explain the show’s success. “I think just something that’s very positive and celebrates love, is funny and has a warm feeling. I think people are responding to that.”  

It’s true. In days of emotional heaviness and concern, we shouldn’t be surprised by the resurgence of genuinely good romantic comedies. But I don’t think that is all that accounts for the triumph of Nobody Wants This. Its seamless blend of profound religious concepts with an evolving and exploratory faith continually presents viewers with the idea that there is more and better to life. Its redemptive quality goes beyond the classic strangers-to-lovers storyline. Depictions of strong community and belief in greater things have captured an audience who crave something more than surface-level fluff, even from their rom-coms. 

Perhaps, their allure does not lie in authority, sacred position, or even in appearance, but in the fact that they, too, are real, vulnerable and multi-dimensional people. 

 We meet Joanne who, like many of us, is clumsily curious and searching. Initially, she is on a one-woman mission to prove that her work as a podcaster contributes to ‘something bigger’, then she wants to discover whether she is a ‘good’ person or not. These moments of self-exploration are only side quests in her constant longing for a love more lasting than her previous relationships. The character of Joanne is based on series creator, Erin Foster, who converted to Judaism after meeting her partner and, although the series’ highly criticised portrayal of Jewish women leaves much to be desired throughout the show, the season finale leaves us with a clear emphasis that Joanne is now searching for true belief amid conversion questions. 

In the role of Rabbi Noah, as in Fleabag’s Priest, we glimpse behind the proscenium into the life of someone who has committed to serving God. In their struggles, hopes and complicated relationships, we discover a humanness beyond the lectern, titles and ceremonial clothing. In Noah, we see a man who does not always get it right – who often misses the mark – but who owns up, makes amends and learns from his mistakes. During one particularly moving scene, Noah unashamedly brings the sacred into the mundane by introducing Joanne to her first Shabbat meal over a restaurant date. We see a person of faith who doesn’t allow personal holiness to segregate them from the grit of everyday life and who, above all, prioritises relationship over regimented religion. 

There is an obvious physical attraction to men such as Adam Brody and Andrew Scott playing men of the cloth, which I find equal parts weird and worrying for those unfamiliar with real-life clergy, as they’ve possibly had their expectations set a little high. But I wonder if it is their character’s humility, gentleness and authenticity that compels the audience, drawing us to trust them. Perhaps, their allure does not lie in authority, sacred position, or even in appearance, but in the fact that they, too, are real, vulnerable and multi-dimensional people. In these depictions, the life of faith and self-sacrificial vocation does not seem far-off or removed from our society. Not everyone who comes to faith is going to become a rabbi or a priest, but these men go a long way in dismantling the perception that religion and relationship with God is only for a certain, superhuman people. Far from the fire-and-brimstone stereotype, they are responsive, relatable and – crucially, for a romantic lead – emotionally available. 

Sure, sex and sexual attraction eventually plays a large role in the plot, but how many romantic comedies save their most tender scene for a powerful moment of humble prayer... ?

On another level, the overwhelming response to Nobody Wants This reveals a desire to be part of healthy relationships is characterised by respect, patience, honesty and kindness. One online comment stating that, ‘Hot Rabbi is a walking green flag,’ speaks for thousands who simply want to be treated well by those they trust. Another claims, ‘This show healed something in me.’ Noah and Joanne’s story not only defies convention around community and social expectations, but it bucks the trend with its non-toxic approach to dating and religion. In the face of a sabotaging ex-girlfriend, an unconvinced sister, and the giant conversion-shaped question-mark over their future, the two persist by continually choosing and honouring one another. 

The ultimate strength of Nobody Wants This is that it is founded in a story that seeks its worth in more than just sex. Sure, sex and sexual attraction eventually plays a large role in the plot, but how many romantic comedies save their most tender scene for a powerful moment of humble prayer, instead of a passionate kiss? Nobody Wants This presents the viewer with a better possibility, both of life as it is now and life as it could be. Through Joanne, the person who wants something more meaningful is afforded a front-row seat in exploring religion. Even to the total newbie, there is no judgment or embarrassment – and you’d be hard-pressed to find a person who’d get it as wrong as her, making the sign of the cross in a synagogue. Through Noah, our faith in mankind and religion institution is restored as we witness his honesty, patience and kindness. Surely, this cannot be bad press for any place of worship. 

Essay
Comment
Community
Nationalism
7 min read

I was angry and you called me Gammon: Gary from Blackpool, Charlie Kirk, and all these flags

A triptych of three faces of wrath poorly heard and poorly expressed

John is a Salvation Army officer and theologian,

Marchers carry British, English and Israeli flags
Unite the Kingdom marchers.
Met Police.

William Blake once warned: 

I was angry with my friend; 
I told my wrath, my wrath did end. 
I was angry with my foe: 
I told it not, my wrath did grow. 

Blake understood that unspoken—and, more precisely, unheard—wrath does not wither. Left untended, it grows. Its bitter roots tentacle around grievance; neglect waters it, and violence ripens as its fruit. Much like Blake’s tree, the wrath spreading through towns in this nation, and beyond, springs from seeds of anger. It is not irrational. It is cultivated in betrayal, frustration, and systemic disregard. 

This essay is a triptych. Three panels, three faces of wrath poorly heard and poorly expressed. In England, it riots in the streets and hangs from lamp posts. In America, it narrows into bullets. These are not isolated curiosities but variations on the same Western fracture — anger left unheard, curdling until it explodes. 

Wrath, of course, is not the same as anger. Anger is a natural passion, a flare of the soul in the face of injury or injustice. It can be righteous when governed by love, as even Christ was angry at hardened hearts. Wrath, by contrast, is anger left to harden — anger unspoken, unheard, or indulged until it festers into a vice. Scripture names it as both the fire of God’s judgement and, in humanity, a deadly sin. Wrath is anger that has ceased to heal and has become scar tissue. 

Panel I: Gary from Blackpool 

Enter “Gary from Blackpool”. 

He was a London commentator’s caricature of provincial ignorance—“1 GCSE, two brain cells, and three teeth.” 

A screenshot of a tweet.

The tweet was deleted, but not before the sneer had spread. Gary was a meme. He doesn’t exist, and yet he does; there are loads of “Garys” in Blackpool. 

And Gary is angry. 

His wrath first erupted in St John’s Square in the summer of 2024. When he raised a St George’s flag on a roundabout, it was not swaggering nationalism but a pathetic attempt to claim a place in a nation that no longer cares about people like him. 

Blackpool’s collapse has been much-storied: once thriving, now one of the most deprived. Reports and documentaries measure poverty, chart prospects, and speculate on futures. The town is endlessly narrated. 

Gary is not. 

Yet his story mirrors that oft-told collapse. Poverty has scarred him visibly: the teeth, failing health. Gary’s life expectancy: 69, more than a decade shorter than elsewhere. He’s scarred invisibly too, in narrowed hopes and disillusion. These are not individual failings but markers of systemic neglect: underfunded schools, crumbling services, an NHS that doesn’t reach him. Dentist appointments in Blackpool are rarer than hens’ teeth, which are in better condition than Gary’s. 

The England Gary remembers is gone. In its place stands a society he no longer recognises: multicultural, politically sensitive, shifting away from its past. A Daily Mail headline once told him, “Garys are heading for extinction” while Muhammad, in all its spelling variants, had become the most common baby name

And then the boats. Images looping on his screen: more change he cannot control. His Brexit vote promised to take back control; his refusal to vote ever again, a gesture of resignation. 

Because they don’t care about him. They hadn’t even cared for the girls. Now he saw the same system ushering them into clinics to become boys. 

Gary and those like him, through their anger, reveal a politics that has abandoned them, economics that offer no hope, and a culture that makes them strangers in their own country. Rioting is no cure; it tears open wounds without healing. But the response is illuminating: in 2011, they prompted soul-searching; in 2024 and 2025, they brought only ridicule. The tweet exposed a national reflex: to mock rather than listen. That sharpened the bitterness. 

Wrath here does not whisper or wait. It riots. 

 

Panel II: Charlie Kirk 

Gary may never have heard of Charlie Kirk, but Kirk’s rhetoric channelled the very anxieties that defined Gary’s world—about loss, displacement, and neglect. This resonance helps explain how his voice travelled so widely. 

I didn’t watch Charlie Kirk either. His reels surfaced on Instagram or YouTube now and then, but it wasn’t my algorithm that latched onto him. It was my four nephews’—aged sixteen to twenty-two, two in Kent, two in New Zealand—imagination he captured, even if not always their agreement. Young men across the globe, caught in the fast cadence of an American voice. 

When I saw the news, my reaction surprised me. It was strangely visceral for someone who had never featured in my life in the way he had theirs. I felt sick. Because he was dead. Because he wasn’t a politician behind glass or a general behind medals. He was public, certainly, but also strangely normal. And he had children, both younger than my youngest, and a wife. 

And he had the guts to speak to people. Theo Von said he “tweeted with his feet.” How many of us can say we say what we believe as vociferously face to face as we might be brave enough to do on social media? He was visible. Accessible. Flesh and blood with people, not just pixels. I think this is partly why he appealed to my nephews. I’ve seen Facebook friends of their generation posting tributes, then engaging courteously and constructively with those who insisted on quoting Kirk out of context. For them, defending him has not been rage but dialogue. 

And then the gun. 

Charlie’s killer pulled a trigger. Wrath had narrowed into single, precise bullets with slogans on them. But this was not justice, not even protest. It was wrath corrupted into murder; an execution. 

Wrath here does not riot. It narrows into bullets. It turns cannibal. 

What will this spilt blood birth in those who listened, watched, believed? 

 

Panel III: Flags in Hartlepool and Horden 

And here, in England, it is the flags. 

In America, flags are furniture. They’re on every porch, every school, every stadium. But in Hartlepool and Horden, when flags multiply on streetlights, and red crosses are painted onto white roundabouts, they do not feel ordinary. They are a display of patriotism that feels out of character here. They feel ominous. 

They do not shout; they whisper. Every day. A slow, stubborn signal of belonging and defiance. Not the riot of Gary. Not the bullet for Charlie. But something quieter, somehow more enduring. Wrath sewn into fabric, taking root in silence as surely as Blake’s tree, its persistence echoing Gary’s resentment, its quiet endurance unsettling in a way different from the bullets that struck Charlie. When they thicken in certain places, when they layer and cluster, they become atmosphere. 

A Union Jack flag on a lamppost.

Union Flags made it onto some streetlights I walk past with my daughter in Newcastle, on the way to the swimming pool. “What do they mean?” she asked. For some, pride. For others, threat. For most, perhaps nothing at all. And then they were torn down, leaving a frayed seam, a dangling strip of tattered cloth still tied to the upright metal. That felt even more ominous. Not simply a sign of division, but of reaction. And do you notice, where they are hung only as high as a ladder will reach, they look almost like flags at half-mast? As if beneath the defiance there lingers a subconscious grief. 

And so the question lingers: what will come of it all? What future is being staked out? Are these new buds on Blake’s poisonous tree? 

Some flags are celebrated, raised over civic buildings as sacraments of a new national creed. 

Other flags are torn down, left to fray on lamp-posts, almost threatening in their persistence. 

Wrath here does not riot or narrow. It takes root. 

This is England, isn’t it? 

 

A benediction: I was angry 

And how might anger, left unheard before it hardens into wrath, speak with the voice of Christ? 

I was angry, and you called me gammon. 
I was angry, and you called me woke. 
I was angry, and you heard only your politics, 
not my pain. 
 
I was angry, and you argued about tribes and sides. 
I was angry, and you measured me as vote, as threat, as cause. 
I was angry, and you did not really listen to me. 
 
Truly I tell you: 
when you saw the angry and called them only left or right, 
you understood nothing. 
You did not know me. 
 
And these will go away still unheard, 
their wrath growing strong in the shadows, waiting to erupt. 
 
But those who bore the anger of the poorly heard, 
who listened without contempt or fear, 
This too is England. I am found there. 

 

This article was first published on John Clifton’s SubStack. It is reproduced by kind permission of the author.

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