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AI
Church and state
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4 min read

Peter Thiel and the Antichrist

The PayPal founder’s obsession with the Beast is nothing new

Jack is a graduate of Peterhouse, University of Cambridge and Blackfriars, University of Oxford. He writes, and also works in local government.

An AI montage show a black and white school at the centre of a red and yellow circular grid upon which are the San Francisco skyline and map.
San Francisco Antichrist.
Nick Jones/Midjourney.ai.

Sometime between 95 and 110 AD, a Christian called John the Evangelist (it is said) wrote about ‘the spirit of the Antichrist, which you have heard is coming, and even now is now already in the world.’  

Fast forward two thousand years, and the Antichrist is back on the agenda, this time via Peter Thiel, the co-founder of PayPal and Palantir (a data analytics company) and the first external investor in Facebook, who is currently offering his thoughts on the “politics of the Antichrist” in a four-part lecture series in San Francisco. 

Thiel previously said, in an interview in 2024, that he thinks that if the ‘Antichrist were to come to power, it would be by talking about Armageddon all the time.’ By Armageddon, he means the destruction of the world arising, for instance, from nuclear war, bioweapons, climate change, or AI.  And in that interview, Thiel referenced an instructional documentary film from 1946: One World or None. Its thesis is that the answer to atomic warfare is to have the nations of the world unite. According to Thiel, such a global government would be the most insidious danger of them all.  ‘The slogan of the Antichrist,’ he said, is ‘peace and safety’, which ‘resonates’ in ‘a world where the stakes are so absolute, where the alternative to peace and safety is Armageddon’. So, the promise of perfect peace is a false one: it would lead only to a one-world totalitarian government.  

We have been here before. On 13 January 1814, at one of thousands of services of national thanksgiving to celebrate the Peninsular Army’s entry into France, which heralded the end of the Napoleonic Wars, The Venerable Joseph Holden Pott, the Archdeacon, ascended the pulpit in the St Martin-in-the Fields Church on Trafalgar Square in central London. There had, he said, never been a ‘fitter moment’ to encourage ‘patriot zeal’ ‘on sound and righteous principles’, which he expounded for his flock. Jesus Christ was ‘a true patriot’. First, he loved the place of his birth and the people around him; then, he demonstrated love for the whole world. The ‘spirit of true Patriotism regards the good of other Countries as connected always with its own.’  However, one’s home country always come first.  

Throughout the Napoleonic Wars, Napoleon, who rose to power on the wave of revolutionary unrest in France, was cast by the ruling elite in Britain as the Antichrist. Protestant Britain was depicted as the new Israel, which would deliver Europe from all its woes. With the risk of political Armageddon in their own country, the establishment reasserted the importance of religion to the nation state.  

The politics of the Antichrist will always tend to have traction, but the risk is that the response to the belief that the Beast is rising out of the sea, to use the image deployed in the Christian Bible, will be just as destructive: a religious revival that is all about reactionary politics or remembrance of things past.  

Thiel’s take on history is that it its linear, angled toward the End Times. His thought is cyclical, collapsing in on itself, in that it is a tired trope that has been used before. For instance, it has been used during the Napoleonic Wars, and it is not guaranteed by a strong faith that can move mountains, which is arguably what the world needs more than anything else.  

Saint John meant, by the ‘spirit of the Antichrist’, ‘every spirit that does not acknowledge’ Jesus Christ as Lord. And soon after, the early Christian theologian Clement of Alexandria, who sold Christianity in a competitive marketplace, wrote about the ‘sects both of barbarian and Hellenic philosophy’ that unlike Christ ‘each vaunts as the whole truth the portion which has fallen to its lot’. 

The risk with Thiel is that he is simply validating unchecked ‘tech’ taking over the world. It is also sectarian that Thiel’s thoughts, for all their seemingly counter-cultural boldness, are often expressed in the shadows. His remarks in his current lecture series in San Francisco, for example, will go unrecorded. They are speculative in their nature. 

By contrast, those writers who lived through the first half of the twentieth century, which Thiel sees as a turning point in the politics of the Antichrist, flaunted their wares in public, with incisive clarity. They spoke of the way in which the spirit of Christ transcends time and all other ideology, like Clement of Alexandria in the first century.  

One such writer was C. S. Lewis, who wrote an article ‘On Living in Atomic Age’ (first published in 1948), in which he exhorted us not to exaggerate ‘the novelty of our situation’. We were always going to die, irrespective of the politics of the world around us, and as ever our mission is to better ourselves by turning to Christ. We should not assume that we alone can save the world. But Peter Thiel sounds he like does. 

So, we still have much to learn from the Christians from the early church. Saint Paul wrote to Christians in Thessalonica warning them not to be deceived by the Antichrist, who ‘sets himself up in God’s temple, proclaiming himself to be God.’  And anyone encountering Peter Thiel’s (or indeed any one’s persons) political ideas would do well to remember that.  

The PayPal founder’s obsession with the Beast is nothing new.  

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Review
AI
Culture
Film & TV
4 min read

Ethan Hunt is MI Jesus, and it’s ridiculous

The final instalment of Mission Impossible warns about AI, yet plays out as if written by a chatbot.
Tom Cruise playing Ethan Hunt in an open necked shirt looks perplexed.
Tom Cruise in action.

Is this the FINAL reckoning? I’m not sure. I hope so. There has been speculation whether Tom Cruise will reprise his role as Ethan Hunt in further franchise instalments. He has expressed interest, while also suggesting that the use of the word ‘final’ is purposeful and indicative. Let us all pray that he’s being honest. I mean…he must be exhausted. The stress and strain, the pressure and pain, that he puts his body through for every Mission Impossible film is approaching elder abuse – he is 62 after all. 

In a departure from tradition, Mission Impossible: The Final Reckoning is an immediate sequel to Mission Impossible: Dead Reckoning, which released in 2023. The series which has thrived on a formula of releasing stand-alone spy stories, allowing us to enjoy familiar characters in new scenarios, has decided to make a two-parter…although you wouldn’t know it. You don’t need to have seen Dead Reckoning to pay your money to watch Final Reckoning, as the script assumes you’ve not only missed the immediate prequel, but have never viewed any other Mission Impossible film.  

Goodness me, the film is plodding. It begins with a message from the President (Angela Bassett), delivered to Cruise’s super-spy Hunt. In previous instalments such messages have been a punchy way to set the stakes, roll the pitch, and then give the rest of the screen time over to remarkable action set-pieces. On this occasion we have an interminably long, and irritatingly portentous, monologue detailing why Ethan Hunt is the best of spies, the best of men, and essentially MI Jesus. The only man who can save the world from a literal apocalypse.  

The premise of the film is that the malevolent, power-hungry AI known as ‘The Entity’ (could no one have thought of a better name, REALLY!?), which Hunt failed to stop in the previous film, is now at large and tipping the world towards destruction. It is manipulating the media, gaslighting governments, and slowly infiltrating the nuclear arsenals of the world, all in preparation to annihilate most of the human race in a nuclear holocaust. It then plans to rule the remaining vestiges of humanity and create a new utopia for itself. Only Ethan Hunt can stop it…just as long as he convinces world leaders to trust him, finds the nuclear submarine where ‘The Entity’ originated, defeats hundreds of bad guys, and infiltrates a top-secret bunker in South Africa. 

We’re a world away from the lean and mean story of the first MI, where we only had the identities of CIA assets at stake! 

Its rubbish. Genuinely rubbish. 

The script is ripe. Nay! It is overripe. NAY! Burn the whole house down, because the brie has grown limbs and the fruit bowl is plotting your death. Every other conversation involves either Cruise pontificating on how the only way to defeat ‘The Entity’ is love and trust and the age of Aquarius, or someone explaining to Cruise how this mission is his destiny, because only he is good and pure enough to succeed. He’s MI Jesus, and it’s ridiculous. 

The film plods and plods and plods. The whole point of this franchise is to provide the viewer with regular, breath-taking action, and yet the first hour-plus is a litany of exposition and call-backs. Ethan travels to several European capitals, for about thirty seconds apiece, before formulating his plan. This is confusing and jarring, but to add to this pain, the audience is tortured with disorienting, quick-cut montages of Hunt’s previous adventures. The plot seems to be determined to link this final, world-ending catastrophe to his past escapades…except MI2…no one has love for that. 

Unfortunately, all these positives are packaged in such a self-aggrandising and cack-handed manner as to be rendered inert.

By the time the action really kicks in I was exhausted and in no mood. This is a shame, because the action is truly spectacular. A long sequence in a submarine – which is both well below safe diving depth, but is also slowly falling of an underwater cliff. A breath-taking fight between two biplanes. Gunfire galore. I recognised its brilliance on an intellectual level, but enjoyed none of it. I was too damned bamboozled by over an hour of nonsense beforehand. 

The performances are fine. Cruise is the last remaining true action star, putting himself through a gruelling regimen to ensure he performs his own stunts. This shows on the screen and is very much appreciated and commendable. Simon Pegg returns as Benji to provide the comic relief. Ving Rhames’ Luther has a brief appearance which is bitter-sweet and lovable. Henry Czerny and Rolf Saxon are delightful additions – the only call-backs to the first film which don’t irritate, and actually elevate the film. 

Mission Impossible: Final Reckoning is fine. It is serviceable. It delivers the heart-stopping thrills. It has timely theme: of what true humanity and human relationship is in a world dominated by AI, technology, simulated reality, and simulated interaction. This is all good. Unfortunately, all these positives are packaged in such a self-aggrandising and cack-handed manner as to be rendered inert. For a film whose story serves as an (admittedly histrionic) warning about the dangers of AI, it plays out as if designed by chatbot. 

The Mission Impossible films have always been a vehicle for Tom Cruise. This has been their greatest strength – he is the last true movie star after all, and we may never see such a charismatic and powerful screen idol again. This has also been their greatest weakness. What a shame this only became apparent in the (potential) final outing. 

  

2 stars. 

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