Article
Culture
Film & TV
5 min read

The Oscars celebrate a basic human trait - telling stories

A ‘seemingly absurd ritual’ reveals a little of who we are.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

Mikey Madison, wearing a ball gown, clutches a golden Oscar statue.
Mikey Madison, star of Anora.
ABC.

I’m becoming more and more resolute in my belief that nothing is ever trivial.  

Not really.  

Not when you look at it for long enough, not when you offer it the gift of your curiosity, not when you’re convinced that culture is made up of a myriad of restless hearts.  

This resolute belief is the reason I tend to give the Oscars my attention. My full, non-judgmental, attention.  

The Academy Awards may seem trivial, especially this year. Especially this week, even. I mean, are we really going to talk about Timothée Chalamet’s yellow suit or Demi Moore’s gracious-loser-face when pockets of our world are being torn to shreds? I get it. Even the people in the eye of the showbiz-storm (mostly) get it. In his opening monologue, this year’s host, Conan O’Brien, called the ceremony a ‘seemingly absurd ritual’. 

And it is.  

But we are story-telling creatures. We are, to quote Charles Taylor, ‘Storied Selves’. Story is how we wrestle with what has been, what is, and what we think/fear/hope may be. And so, I want to know what stories we’re telling: what stories have we deemed worthy of excavation? What stories are drawing us in and sending us out again with slightly tweaked perspectives? What are we celebrating? What are we lamenting? What are we trying to change? What are we trying to hold on to?  

Plus, I’m religious – who am I to assume there’s no meaning behind ‘seemingly absurd ritual’, aye?  

The Oscars is an event dedicated to just a handful of the stories that have been told over the past year – the ones that are being told the loudest, I guess. That makes it a sample pool of our collective heart-cries, the tip of our meaning-making iceberg, the headline that sits atop our cultural moment.  

Is it somewhat superficial? In part. 

Is it a little sanctimonious? Oh, heck yes.  

Is it opulent to the point of discomfort? Most definitely.  

Is it meaningless? Absolutely not. Storytelling never is.  

So, in that vein – what are the stories that were celebrated at last night’s 97th Academy Awards? And what do they teach us about... well… us? I noticed a couple of interesting themes.  

In so many ways, movies are humans telling humans what it means to be human. 

Firstly, the ceremony opened with a tribute to The City of Angels, herself. The most sparkly city there is, the home of Hollywood – Los Angeles. Terrifyingly large swathes of which were, of course, razed to the ground by historic wildfires earlier this year. Borrowing a line from The Wizard of Oz, ‘there’s no place like home’ was spoken over a montage of the city acting as a backdrop for so many iconic movie scenes.  

It made me think of the role that ‘home’ plays in many of the movies that were platformed last night – and I realised, it plays a leading role. ‘Home’, in itself, is a character. There’s the omnipresence of Brighton Beach, New York, in Anora (by far, the big winner of the night), Mexico in Emilia Perez and, of course, ‘Oz’ in Wicked. These films aren’t just set in these locations, they’re utterly dependant on them.  

Then there’s the more complicated stories of ‘home’ – stories of home being both here and there. The Brutalist, for example (for which Adrien Brody won the ‘best actor in a leading role’ award), tells the story of a Hungarian-Jewish Holocaust survivor trying to make a new home for himself in the United States. Or A Real Pain, in which Jesse Eisenberg (who also wrote and directed the film) and Kieran Culkin (winner of ‘best supporting actor’) travel to Poland to honour their late grandmother, and therefore, their own lineage. In both movies, ‘home’ is a stranger that the characters must introduce themselves to and befriend.   

It's fascinating.  

In art, as in life, home provides identity. It’s the geography that we’re made of, the history that runs through our blood, the place where our circumstances become our meaning. At least, that’s what these movies tell us.  

Another, more obvious, theme I noticed was that so many of the movies on display were telling notably complex stories of a female experience. 

The Substance, one of the most interesting films of this year, tackles the theme of aging. Age-a-phobia, you could say. The experience that countless women have of becoming less valuable as they move through life – the feeling that you’re vanishing from society’s sight with every change of your body. Or there’s the afore-mentioned Anora. I’ll be honest, this one took me by surprise, racking up the most awards of the night, including ‘best picture’. Its story centres upon ‘Ani’, a young Russian American sex worker who weaves in and out of powerful ranks. Wicked, the story of a drastically misunderstood, commonly marginalised and terribly manipulated woman (who just so happens to be a witch). And winner of ‘best international picture’, I’m Still Here, tells the true story of Eunice Paiva. Her husband, Rubens Paiva, is abducted by military operatives in 1971 and never returned. Eunice is left to care for their five children as she seeks justice for her husband as well as indigenous people in the Amazon. 

Female experiences – in all their complexity, nuance, grit, strength, and truth – truly took centre stage.  

Movies are humans telling humans what it means to be human. And I just love that we do that. I’m never not fascinated by how much we all share – how the particular can tap into the universal. We have so much to learn about each other, and movies are a way we seek to do that, but one of the things that we constantly have to learn, re-learn, and learn again is how much we have in common.  

And I know that a sentence like that sounds face-palmingly glib. But if it weren’t true, if we weren’t – at some deep and true level – made by the same stuff and for the same stuff, I’m not sure movies would exist. I’m not sure that they could exist.  

And so, all of this to say that there’s more to the Oscars than meets the eye – even when what meets the eye makes it roll. Give it the gift of your curiosity, it’s worthy of it. I promise.  

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Review
Books
Culture
Digital
Leading
5 min read

How a card game, going off-grid, and a great teacher, shaped Bill Gates

A new biography explores the man who shaped the digital decades

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Bill Gates talks from behind a table with a small sign bearing his name.
Bill Gates.
European Parliament, CC BY 4.0, via Wikimedia Commons

It is hard to find Bill Gates the man behind Bill Gates the tech billionaire. The founder of Microsoft is consistently portrayed in the media solely through the lens of wealth, influence and innovation, and with good reason. For decades he has ranked one of the richest men in the world with a net worth of around $113 billion, and his most recent operating system running on over 400 million devices around the world.  

But in the first instalment of his planned three-volume biography Bill Gates reveals something of his personal story - of the rituals, coincidences and relationships that have shaped the man who, like it or not, is shaping all our lives

As someone who grew up riding the wave of the technological revolution of the 1970s, 80s and 90s, I found Bill Gates’ deeply personal portrait particularly fascinating. But the themes of his book resonate even wider - the way he talks about relationship and risk, inclusion and inspiration, memory and morals, are poignant however much time you spend on your computer and however much money you have in your pocket.  

Hearts with Grandma shaped Gates’ childhood 

The powerful influence of Gates’ family, particularly his grandmother, is unmistakable. The biography opens and closes with the woman who called him “Trey,” recognizing his place as the third William Henry Gates in the family. Their close bond developed over the card table, where Gates sat in awe of her mental sharpness. Even into old age she regularly beat him at her favourite game, Hearts. It’s likely not a coincidence that this game made it into Microsoft’s early operating systems: Gates’ way of sharing something of his grandmother with the world. But Hearts was more than a card game. It symbolises the space Gates was offered to learn strategy, logic and focus. It was a levelling of the playing field across generations and an opportunity to discover and refine his sense of identity, competition and connection.  

I found myself reflecting on my own childhood, and those long dark evenings playing Carrom and Rummikub with my mum, at least until I was seduced by Pacman and Elite on my microcomputer. Then I thought about how that played out with my own children who I once taught to play Uno and Connect 4 and who have subsequently introduced me to the challenges of Catan, Carcassonne, Codenames, Ganz Schon Clever, and so on. Card and table games have had their own mini-revolution since the days of Hearts and Patience: they continue to be the school where early learners develop strategy, connection, and identity.  

Off-grid and online life shaped Gates’ young adult life  

Gates’ childhood, as portrayed in his biography, feels like it belongs to a completely different era. It makes me feel uncomfortable as he describes the way he used to disappear as a teenager on a nine-day hike through the Cascade Mountains in Washington State with friends—no mobile phones, no contact with home. In one remarkable story, his parents managed to reach him by phoning a random stranger in a town along his route. That stranger successfully relayed the message that his family’s planned rendezvous had changed. It’s an image from a different world, one of off-grid trust, risk, and adventure—far from the always-on, hyper-connected digital culture Gates would go on to help create. How ironic that the skills Gates needed to become one of the central architects of digital transformation were formed in the middle of nowhere. The infrastructure of today’s information age—its fluidity, reach, and depth—was birthed in mountain walks, wild camping and lake swimming. 

The image of a young Bill Gates forging resilience and perspective far from the digital world is both nostalgic and instructive. Perhaps the next great innovators won’t emerge from the data diet or coding camps but from tents under the stars and homes where screens are conspicuously absent.  

Gates’ neurodiversity is his superpower 

One of the most important influences that emerges during Gates’ school education was Mrs Blanche Caffiere, the school librarian at View Ridge Elementary in Seattle. She not only managed the library but also invited young Gates to work as her assistant—a role that empowered him, nurtured his curiosity, and profoundly shaped his sense of belonging at school. Socially awkward but intellectually gifted, Gates was given a position of responsibility, and that act of trust and inclusion gave structure to his experience of school as well as a place where he could flourish. It’s a powerful reminder of the transformative role teachers can play—especially those who go beyond the curriculum to draw out the unique gifts of each student.  

In the book’s epilogue, Gates reflects on his neurodiversity:  

“If I were growing up today, I probably would be diagnosed on the autism spectrum… During my childhood, the fact that some people’s brains process information differently from others wasn’t widely understood.” 

 His parents seemed to respond to his difference with patience and ingenuity. While they clearly struggled, they also invested in his education and in supporting his mental health. Instead of framing neurodiversity as a deficit, Gates’ family recognised it as a form of untapped potential. And, on reflection, Gates agrees. Seeing the world differently, he has said, is something he wouldn’t trade. 

These three themes come together in one story that really struck home to me. As a child Bill Gates attended church with his sister, and on one occasion this church issued a challenge: any young person who could memorize the entire Sermon on the Mount would earn a meal at the city’s iconic Space Needle in its lofty rotating restaurant. With his agile brain, his family relationships and his growing resilience Gates memorized the entire passage verbatim, passed the test, and earned his reward.  

Memorising 150 verses is no mean feat, but it wasn’t the end of the story. That challenge sparked a deeper interest, and Gates went on to read the entire Bible from cover to cover. He recognized that discovery as a vital part of his journey toward adulthood, forming part of the moral and intellectual foundation that would shape his later life. 

Gate’s story, as told in this first volume, isn’t just a biography of a tech mogul - it is a window into the formation of a complex human being. What emerges is not just a tale of one success, but a testament to the quiet, often overlooked forces that shape a life, a community, and a moral framework. The time spent with a grandmother, the vision of a school librarian, the stillness of a night spent under the stars, the power of a sacred text:  perhaps here is the true source of the man who is Bill Gates.  

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