Review
Culture
Film & TV
Holidays/vacations
5 min read

Race across the world: you can go fast and go far

Forget the tight travel connections; it’s the human ones that enthral us.

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

Contestants in Race Across the world stand in front of neon-lit Chinese street scene
Ready to race.
BBC.

After years of peer pressure, my husband and I have joined the bandwagon and become Race Across the World evangelists. The BBC series, currently in its fifth season, follows five competing duos on an expedition between far-flung locations with limited resources and no forward planning.  

Viewers love the show wherever they are in the world. In America, The Amazing Race, which has a similar format, is now on its 38th series. 

‘No flights, no phones,’ boast the rules – but Race Across the World is a far cry from retreating to simpler times before smart devices and online banking, nor does it shy away from the complexities of modern life. Though there is a cash prize, the format of Race Across the World prioritises connection over competition. Each episode is a picture of messy, frantic humanity and examines how we cope in an environment where all we really have is each other.  

The challenge is real. In the current series, the couples trek across China, Nepal and India, the start and end checkpoints spanning more than 14,000km. This cohort is an eclectic mix: two sets of slightly estranged siblings, teenage sweethearts from Wales, former spouses and a mother and son. Their vulnerabilities, as well as their triumphs, take prominence. In their conversation and in confessional, each person demonstrates a remarkable willingness to face the hard stuff of life with resilience, tenacity and enough convivial spirit to please the production team. 

This emotional depth maps the physical and logistical demands of the race, as the viewer follows the pairs’ fast-paced journeys, stopping occasionally to enjoy some wonderful view amid countless train stations and overnight busses. 

My sympathy derives from a belief that I would fare horrendously as a contestant – I think my excellently organised, exceedingly patient husband would flat-out refuse to compete with me. But the wider response to Race Across the World is one of empathy. Unlike similar shows, we are not called to blindly favour for the frontrunner, but to enjoy spending time with and bearing the burdens of all. We feel every frustration of the missed shuttle that just departed. When the ferry disembarks late due to poor weather, our response is not to scoff, but to share, in some small way, their lament. As their successes and failures are magnified, so is our compassion, willing them not to get lost in comparison’s snare but to keep moving forward. 

Race Across the World exhibits the reality of community, speaks to the ache of life’s unpredictable nature, and extends grace for struggling humanity. We learn, alongside those racing, that the point is not always to fix our frustrations, but in being able to sit with them, to acknowledge disappointment rather than dismiss it, and to allow setbacks to spur us onto the next step. Sometimes, things get hard and we acutely feel that a situation is beyond our control. What have we then? Still, each other. Still, communion. Still, God. 

Most of the time, the competitors’ issue does not disappear; they arrive at the checkpoint 24 hours late, they board the wrong train, the persistent typhoon ruins their chance of first place. But this hardship renews their strength and determination, promoting the notion that while suffering is never easy, it somehow shapes us. We endure and, in that endurance, we are refined and strengthened in ways we never thought possible. In the testing of our own endurance (or lack of), it turns out that some things actually are immovable. 

This resilience permeates to the heart of who we are, forming us into people who can carry disappointment and hope simultaneously. It is an unwavering, defiant hope that finds us and never leaves us stranded. From this new position, fresh possibilities arise out of a deeper satisfaction, a greater victory, than found in being first place. This hope is rooted in something deeper, and it cries from the other side of difficulty: ‘Here I am, not lost.’ 

In his poem, Vow, Roger McGough reminds us that when, 

Things seem to go from bad to worse,  

They also go from bad to better …  

Trains run on time,   

Hurricanes run out of breath, floods subside,   

And toast lands jam-side-up.’ 

It speaks to how the relatively small disappointments help us cope with the bigger stuff of life, the stuff we feel we will not emerge from. In the gritty, heavy, unfair stuff of life, we appreciate the weight of the enduring hope we possess, manifested in the belief that things not only can, but will go from bad to better. This is not a fragile optimism, but a fortitude and faith that sees the world as it is yet maintains that good and better is possible. 

In the same way, Race Across the World urges us to consider what we can handle – not in our own strength, but in community, in reliance on another. Though our complex, strained humanity may attempt to deter us, life’s hardships are eased when shared, whether on a televised journey or from our sofas. We are strengthened in, by and through devoted community. In keeping pace with another – slowing down or rushing to keep up – we are mutually inconvenienced, and that is a source of beautiful fellowship. In letting go of the things that enslave us to self – ambition, insecurity, pride – we encounter the gift of each other, and give life to love that serves. We commit to community; we choose connection over competition. 

The saying goes, ‘If you want to go fast, go alone. If you want to go far, go together.’  In Race Across the World, significant effort is understandably made by competitors to go fast and to go far, to place first and take home the cash prize. But the viewer’s delight is not so much in seeing the winning duo cross the finish line, as in witnessing the journey of two muddling through, sharing the load, bearing burdens and multiplying joys. 

In our lives, too, the road can be unpredictable, full of detours, missed buses and, yes, a few painfully overpriced cabs. Yet it is in the community of fellow travellers we learn the worth of endurance, the refining possibility of suffering, and the hope that is cultivated in its place. 

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Review
Culture
Film & TV
5 min read

Captain America's impossible task

Brave New World struggles despite some acting heroics.
Captain America crouches expectantly beside his shield
Ready for the next review.
Marvel Studios.

Captain America: Brave New World is the thirty-fifth film in the Marvel Cinematic Universe (MCU), and the fourth film focusing on the character of Captain America. It’s also something of a sequel to a passible Marvel TV series. There is so much baggage, so much lore, so much build-up to this film; a production which has the unhappy task of honouring the seventeen years of previous storytelling, setting up plot points that can be explored in future films, and giving us a satisfactory stand-alone cinematic spectacle. I wouldn’t wish such a burden on anyone – an impossible task. 

Brave New World sees Sam Wilson fully inhabiting the role of superhero Captain America, a mantle bestowed on him by his friend and original Captain, super soldier Steve Rogers. Still doubtful of his worthiness and abilities, he seeks to wield the Vibranium Shield with style. He is sent on a mission to retrieve a stolen military secret from a group of mercenaries. He does so – with a few decent action set pieces – and is rewarded with an invitation to the White House.  

The newly elected President, General Thaddeus ‘Thunderbolt’ Ross, is seeking to shed his past reputation as a warmonger by negotiating an international peace treaty. A newly discovered resource has the capability of changing the face of medicine, technological innovation, and especially warfare. Every great power covets it, and Ross wants to foster collaboration for the betterment of the planet. The gala event is ruined when Sam’s friend Isaiah Bradley, a super soldier from the Koren War who was wrongly imprisoned, goes all Manchurian Candidate and shoots at the President. 

The peace treaty is in jeopardy. The President’s inner circle is compromised. There are secrets and lies that will not stay buried. There is a shadowy villain operating behind the scenes, determined to destroy the President’s reputation. Only one man can fight for truth, justice, and the American way: Captain America. 

This is as much as I can say without spoiling the entire film. 

Not that it would matter. The film is a bit of a mess.  

Sam is proposed as an underdog (having not actual superpowers, only a suit of armour), but is shown to be essentially indestructible…he literally disables a missile by flying into it headfirst. There is no sense of tension or risk. This is not helped by lacklustre action and some genuinely appalling CGI. The plot is all over the place – a result of some rather obvious reshoots featuring green screen that even the most amateur filmmaker could’ve improved. Most of the secondary storylines peter out. New characters and introduced and given almost no personality or progression. 

The script compensates for this by giving characters long monologues where they deliver clunky plot exposition and background information. This was inevitable. To understand the plot and characters requires one to have been a careful watcher of the previous films and television shows. I was somewhat impressed how the film managed to give a gentle introduction to the casual viewer, but it is very much at the expense of pacing and character development. 

All of this is a great shame, as the performances are rather good. Anthony Mackie has always been a magnetic screen presence and manages to combine both charisma and pathos is an uncharacteristically restrained performance. Tim Blake Nelson enjoys himself as the puppet-master villain, oozing bile and sympathy in equal measure. Every minor friend and villain delivers their lines with real feeling. Bloody hell…even lovable grump Harrison Ford looks like he’s actually trying as President Ross. 

Unfortunately, no amount of charisma can make up for a film that has no sense of itself. The shambles of a plot is matched by the shambles of a theme; a sadness, as there is so much potential. Sam Wilson is one of only a handful of black superheroes, and his friendship with Isaiah Bradley is partly based on their shared experience of race and discrimination in the face of honour and duty. This was introduced in the TV show and could’ve been explored further. Sam’s lack of superpowers could have been explored, had he been put in positions of genuine peril. His sense of inadequacy and overwhelming responsibility are mentioned, only to be quickly dismissed with a pep-talk from a throwaway cameo character. The concepts of conspiracy and disillusionment with authority are hinted at, but they formed the thematic thread of the previous three Captain America films, and when this film does approach them, it is by echoing the better storytelling of previous films. 

There is one plot thread, one theme running through the story, which goes some way to redeeming the film. President Ross is haunted by his past. A patriot, a soldier, and tireless worker for American security, Ross has a past littered with sins and mistakes. His anger, his bullishness, his obstinacy (physically manifested at the end of the film), has left him all alone. His daughter doesn’t trust him, Sam doesn’t trust him, and his international partners don’t trust him. He is seeking to become a better man, working towards cooperation rather than force and violence. However, his past life and secrets continue haunt him and stall his progress at self-improvement. 

In the end, by being open and honest and taking responsibility for his mistakes, Ross does achieve a certain amount of peace. He is able to be the figure of nobility and unity that he longs to be by sacrificing his power and prestige, and truly atoning for his misdeeds. Despite all the problems with the film, this (admittedly underdeveloped) bit of character study kept me engaged. Perhaps it was Harrison Ford’s performance. Perhaps it was because we’re approaching Lent, when Christians make an extra effort to acknowledge their past mistakes and resolve to do better. Whatever it was, it furnished the film with a truly sympathetic and improving theme. I wouldn’t spend money in the cinema, but wouldn’t mind seeing it in the TV guide in the future. 

2.5 stars. 

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