Reform votes: what really matters in the end

Two votes, three decades apart.

George Pitcher

George is a visiting fellow at the London School of Economics and an Anglican priest.

A grand dinner table set for a meal sits within a large room with paintings on the wall.

The dining room of the Garrick Club.

I was this week one of several hundred members of the Garrick Club, with many more attending online, crammed into a central London conference room to vote on whether women could be admitted as members for the first time since our founding in 1831.

We Garrick members rather fancy ourselves as a secret society – and it was a rich irony that our vote was held in the same block as the Freemasons’ Hall in Great Queen Street.

Actually, I rather like the tradition that what’s said and done in the Garrick stays in the Garrick. So this isn’t about our club’s internal wrangling and politics, beyond the now widespread news that women were voted as eligible for membership by a majority of 60 per cent.

Rather than go further into that, I want to compare it with another well-fought fight for women’s inclusion: The admission of the female gender to the priesthood of the Church of England, more or less exactly 30 years ago in 1994.

Much of what was going on in the Church then was being rehearsed again in London WC2 this week. You might call it long overdue dismantlements of patriarchal institutions, even if neither the Church nor our club would self-identify as such. No case could continue to be sustained for all-male preferment in our Church or in our club.

To their great credit, the vote was won for reform by those who decided to work together, without rancour or resentment, in preference to further division and bitterness.

There are two observations I would make of the Church precedent that may be of some comfort to my fellow club members, who may feel that nothing will ever be quite the same again. The first of these is quite a quick point. After a couple of weeks of women’s priesthood, almost everyone in the Church wondered what all the fuss had been about. Ordained women became a natural part of the priestly fabric of the Church really that quickly.

Yes, provision had to be made for those who in conscience couldn’t accept women’s ordained ministry, so the process was not without its pain. But three decades on, women priests (and subsequently and inevitably bishops) are so much part of the weave of that fabric that most church congregations feel they’ve always been there.

The second point I would make is that I know anecdotally of very many traditionalists opposed to women’s ordination who, at the General Synod, either voted for women or abstained when the result became inevitable. To have fought a last-ditch, hopeless defence could only have lastingly damaged the Church’s reputation and ministry.

To their great credit, the vote was won for reform by those who decided to work together, without rancour or resentment, in preference to further division and bitterness. My feeling is that a tranche of Garrickian votes were cast for similar reasons.

These were women at the top of their game. It’s just taken a couple of millennia for our churches and clubs to catch up.

The comparison of a gentleman’s club and gentleman’s church is an imperfect one. Members of a church could be male or female; only the clergy were strictly male. There were profound theological and ecclesiological arguments (though I don’t share them) made against the prospect of women priests by Anglo-Catholics, which aren’t available to fans of men-only clubs.

But the similarities between the institutions are founded on the principles of patriarchy nevertheless. The idea that men, in private circumstances, can behave and associate in the pretence that they are still in charge of everything, as they were in the nineteenth century, both at church and in clubland.

This doesn’t matter much when it comes to the likes of all-boy or all-girl sports teams – though it’s a delight to see Woodlanders Football Club, Lioness-cubs to a girl, beat the boys to win their cup.

It begins to matter very much indeed when the senior figures of professions and public institutions seek to associate only with their male colleagues. That’s as true of a boss who takes only the boys in the office to a rugby match at Twickenham as it is of gentlemen’s clubs. It may be patriarchy-lite, but it is rooted in the same hegemony that gave the Church its patriarchs.

It’s an irony as rich as the location of this week’s Garrick vote that the gospel is far from patriarchal in its narratives, even though the language of Father and Son so ostensibly is. The Nazarene, scandalously for his day, freely associates with women. The Jesus movement is radical in gender equality in a manner that its Church has failed down the centuries to emulate.

Jesus gives full messianic attention to a despised and shamed Samaritan woman; he saves an adulterous woman (code for prostitute) from stoning; he stops to address a bleeding woman who just wants to touch him; as the risen Christ, he gives a woman, Mary of Magdala, the greatest apostolic mission in history to tell his dispersed disciples what she has witnessed.

Little wonder women appear so prominently in the Acts of the Apostles. These were women at the top of their game. It’s just taken a couple of millennia for our churches and clubs to catch up.

Review

Culture

Film & TV

9 August 2024

7 min read

Help for the Heelers

The benevolent butterfly effect in Bluey’s season finale.

From Mockingbird

Mockingbird connects the Christian faith with the realities of everyday life.

A cartoon dog family stand in their kitchen

Bluey and family.

Ludo Studio.

Written by Bryan J. This article first appeared in Mockingbird, 23 April 2024. By kind permission.

“Daddy, there’s no God in Bluey’s world, is there?” No joke, my precocious four-year-old PK [Pastor’s Kid] son asked me this question after watching the new Bluey season finale, titled “The Sign.” It’s a deep question, one that comes from a place of honest curiosity — “The Sign” is, without a doubt, one of the most spiritually significant episodes of a series that is known to offer big questions to little kids. The Heeler family is presented with a life-changing decision with no guarantee of a happy ending, and the whole of the episode features the family wrestling the unknown of the future. The fact that my son could pick up on the high stakes of the episode, the philosophical questions about the goodness of providence, and the impossibility of knowing whether the future was bright or not … let’s just say it justifies the tears that come every time I watch the episode with him.

Which is five times now. I have watched the finale five times and wept every time. Isn’t this show made for preschoolers?

“The Sign” reveals a family in transition. After offering a number of hints earlier in the season, we discover that the Heeler family dad, Bandit, has accepted a job offer that pays a lot more money, but will require him to move. Chili (aka Mum) agrees with the choice to move and take the new job, but she has sincere concerns about leaving family, friends, neighbors, city, and a beloved house behind. Bluey, of course, has trouble coming to terms with the idea, as any preschooler would, and Bingo remains blissfully ignorant of the big changes coming her way. The preparations to move coincide with preparations for Uncle Rad’s marriage to family friend (and Bluey’s godmother) Frisky, with the family’s four preschool girls joining in as flower girls.

Big changes bring big questions, of course. Nowhere is this more evident than in Bluey’s preschool classroom. Calypso, the teacher, models a zen-like spirituality for Bluey and her friends. At the end of story time, Bluey asks her teacher “Why do stories always have happy endings?” Her teacher responds, “Well, I guess ’cause life will give us enough sad ones.” (Is this a kid’s show?) This inspires a host of sad stories from Bluey’s peers: a guinea pig that ran away, a divorce, a lonely dad. It’s now that Bluey announces her not-so-happy ending, telling her friends that she is moving. To help the class cope with their sadness, Calypso reads her students a parable of a farmer, who approaches all of life’s good luck and bad luck moments with the simple attitude of “we’ll see.” It’s a story without a happy ending (or without any ending, really), and the kids don’t buy it. “Is that it?” asks one, disappointed. “What happens next?” asks another. “Everything will work out the way it’s supposed to, Bluey” says Calypso with kindness, which Bluey takes to mean that their family house won’t sell (which it does, in the next scene).

Big questions also mean big feelings. An enraged and fearful Frisky, dismayed to discover her fiancé expects her to move out west where he works, runs away the morning of the wedding. Chili hops in the car, with four preschoolers in tow, to track her down. A series of events, which can be only described as providential, take place along the way. Chili, Bluey, Bingo, and cousins run into just the right person, spill juice cups at just the right moment, and make pit stops at the precisely needed spot, to find Frisky in quiet reflection at a local hilltop park. Groom-to-be Rad shows up, too. Frisky and Rad talk through their concerns and move on with the wedding, announcing there that they’ve chosen not to move west as planned. It’s a lovely wedding, with dancing and family and fun and a host of easter eggs for eagle-eyed viewers to enjoy. “You’re having a happy ending!” announces Bluey to her godmother, before turning to her mother and asking “Do you think we’ll have a happy ending too?” “I don’t know,” replies Chili, “But I’m done trying to figure it out. I just wanna dance.” Queue the happy dance montage.

Still, providence has not finished working with the Heelers. On moving day, a whole host of minor events from previous episodes collide to cancel the sale of the Heeler’s beloved house. It’s hard to describe every little flap of the butterfly’s wing that impacted this outcome — a combination of stuck coins, romantic encounters at the drugstore, inchworms saved from being squished on the slip-and-slide, and overzealous real estate agents all played their part. In a moving montage, Bandit takes the call about the canceled sale of the home, changes his mind about the new job, symbolically rips the for-sale sign out of his front yard, and is tackled by a loving family who realize they don’t have to move anymore. The family sits on boxes in their empty kitchen floor eating takeout cheeseburgers, relieved of the anxiety of moving, while the show rolls to credits. The song playing in the background is called “Lazarus Drug,” sung by the same voice actor who plays preschool teacher Calypso. It’s a song about love drawing someone back to life, perhaps a nod to the love of Bandit’s family drawing him back to the reality that they may already have a great life, and money wouldn’t make it any better. The Heelers get their happy ending, too.

The Greeks were the first to use the storytelling tool we know by its Latin name: deus ex machina, God from the machine. In Greek drama, at the climax of a seemingly unsolvable problem, a machine (usually a trap door or crane) would lift or lower an actor onto the stage portraying one of the gods of the Greek pantheon. These gods would step in and provide a solution to a drama’s seemingly unsolvable and complex problem. Nowadays, the term is derisive, an insult that implies lazy writing or poor storytelling. At the time, however, the audience loved these deus ex machina solutions. At the risk of psychoanalyzing the past, one imagines they would have been quite happy to imagine that the Gods cared enough in the affairs of humans to intervene for a happy ending.

Deus ex machina is a criticism that can be leveled at this season finale. After all the adults tell the precocious preschooler that life gives out happy and sad endings, we are not given any sad endings. The only way to navigate change, according to the wisdom of the world, is sit back, embrace a sort of desireless “zen” regarding the future, and say “we’ll see,” but everyone nonetheless gets a happy ending. After bending over backwards to lay out how the future is fickle and unknowable, the show still insists on showing how everything lined up just perfectly for Bluey’s “prayers” to be answered. It’s not just her either. Aunt Brandy’s desire for a child comes to fulfillment, after we are told numerous times that it is not meant to be (S3E31). Winton’s divorced and depressed father meets the mother of the terrier triplets (S3E45), and the two come together and form a new family. The shaggy hair dogs get their house with a pool. Everything works out just fine. Despite the look of a Greek tragedy, in which everything ends poorly for the protagonists, things end up turning out fine, just like every Greek comedy. Or, to put it in Elizabethan terms, what starts out like Hamlet becomes A Mid-Summer Night’s Dream.

In Bluey’s world, the happy endings are real. The parents always muster enough energy to play with their kids. The right parenting lesson is always on hand, and handed down with pithy aphorisms. Hurt feelings are acknowledged and reconciled with emotionally intelligent strategies. The love shown between friendships and family members is realistic and optimistic. Moreover, in this square dog world of Brisbane, Australia, when parents and grandparents are at the end of their ropes, providence steps in to help guide the way. Happy endings are not so much earned in Bluey’s world as they are a given, or perhaps gifted, sometimes by tired and exhausted parents, but also, by an unseen benevolence watching over them. What is grace, after all, if not an unexpected happy ending?

So how did I respond to my son’s question? “Yes,” I told him, “there is a God in Bluey’s world. Who do you think made all those happy endings come true?” It’s not an answer I should have come up with so quickly. I’m not usually one to offer a succinct one-liner that sums up decades of media study and theology in a bite sized nugget for my four-year-old. Perhaps, instead, it was providence that gave the answer for me.