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Mental Health
1 min read

Removing pain’s barriers to healing

How do we open the window to let the air in?
A window sheds light through locked bars into a dusty and dark room,
Denny Müller on Unsplash.

One of the trickiest situations you can encounter if you’re a counsellor is having a client you can’t reach. They sit there in front of you, pain in their eyes, but somehow every approach you make meets with resistance. It’s like trying to touch someone through a closed window – you can see them, but you keep bumping into the glass. 

I have two at the moment. One is Cypriot; I’ll call her Androulla, and she scares me rather as she is a doctor and never smiles and knows everything. ‘Yes, I have tried that,’ she says. ‘Yes, I am familiar with that book/ line of thinking/ philosophical method – it hasn’t worked for me.’ 

And I know that we’ve found the poisonous plant in the heart of her heart and pulled it up by the roots. I am as sure as I can be that she will get better now.

Yet she is dreadfully sad. Her mother died out in Cyprus, and she couldn’t get there in time. Her grief is eating her. She glares at me, desperate to be helped but bristling with gun turrets. Hmm. 

Eventually I remember something Jane Goodall said. Jane Goodall is one of the world’s wonderful people… her work with chimpanzees back in the 60s dramatically changed our relationship with animals, and she still travels the world at the age of nearly 90 encouraging young people to take action on climate change. In her lovely Book of Hope she describes how when she’s completely knackered or stuck with something, she sort of hands herself over to an outside power. ‘I just relax and decide to appeal to the source of hidden strength,’ she writes. ‘There’s a wisdom that’s far, far, far greater than my own.’ When she surrenders in this way, she often gives her best lectures she says.  

I think I might give it a try with Androulla. As a gradually-learning-to-be-more-trusting Christian, it seems most appropriate to follow in the footsteps of St Francis. So just before our next session I shut my eyes and say, ‘Help Lord, I don’t know what to say to her. Please take over and use me as a channel – she could really do with your peace and grace, and I seem to be in the way’. I’m quite a controlling person normally so I feel a bit reluctant… but if it works for Jane Goodall and for St Francis, I’m not going to argue! 

To my surprise, I find myself asking Androulla what her understanding of the word ‘mercy’ might be – not a very usual counselling question. Even more surprising, her eyes fill with tears and suddenly she says that the last time she saw her mother, she told her she hated her, and had a physical fight with her and hurt the skin on her old arms. Crying properly now, the poor woman says she doesn’t deserve forgiveness after that, and I find myself telling her how mercy sees everything with utter clarity and loves and accepts it whatever is deserved or not deserved. And I know that we’ve found the poisonous plant in the heart of her heart and pulled it up by the roots. I am as sure as I can be that she will get better now. 

Something compassionate has breathed on these locks, and the stuck windows have suddenly yielded and opened to let the air in. 

Then today the same thing happens again – with Bella, my other client who cannot forgive herself, in this case for the fact that her violent alcoholic husband drank even more after she finally left him and died of organ failure in a homeless shelter. We’ve gone over and over her guilt for weeks, and she has remained shiny and brittle and artificially bright and fine. We’ve got nowhere. Until now. ‘Dear Lord,’ I say before I ring her, ‘help me find a way through to her. Let me remove myself and all my assumptions, so that your healing can flow through to her and give her some rest.’ I do my best to relax into our conversation, just to let what wants to come, come. And out of nowhere, I am suddenly inspired to ask her whether she’d feel guilty if her husband had died of some terrible illness like cancer. 

‘No,’ she says. 

‘Well… you’re a medical secretary. You’ll know better than me that alcoholism is an illness,’ I say. 

There’s a very long silence. 

‘Doesn’t that mean you’ve both been suffering from this terrible illness?’ I ask eventually. ‘Dave because it drove him crazy and then killed him; you because it blighted your life, and is blighting it still? Isn’t it time you said, “No, enough!” to this pestilence?’ 

I can see it in my mind’s eye, the alcoholism, like a swarm of red locusts or a scarlet dragon, devouring both Bella and Dave. I don’t feel that’s an image I came up with, it’s just there in my mind. I can feel this lodging in Bella’s mind too… a whole new way of thinking, a great big shift in emphasis, a transfer of responsibility from her to the monster. 

I don’t know whether the idea is fully rooted yet, whether we can rely on it to grow and flourish and bear good fruit. But I sense that it is at least planted and watered. A bit more sunshine, some careful tending… and probably a lot more trusting would seem to be the way forward. 

It’s not in the training manual, this technique. You won’t hear the British Association of Counselling and Psychotherapy recommending that therapists hand themselves over to Jane Goodall’s ‘outside power’. But something compassionate has breathed on these locks, and the stuck windows have suddenly yielded and opened to let the air in. 

Review
Culture
Film & TV
Mental Health
5 min read

The C-list villains reviving Marvel's Cinematic Universe

A thunderbolt of sincerity shows the franchise can still thrill.

Giles Gough is a writer and creative who hosts the God in Film podcast.

Four characters from a film loop warily to the side.
Anticipating the reviews.
Marvel Studios.

This article will contain spoilers for Thunderbolts* 

It’s not unreasonable to say that fan expectations for the Thunderbolts* was tepid at best.  Even the most diehard of them had to admit that the output for phase five of the Marvel Cinematic Universe has been a mixed bag. Guardians of the Galaxy Vol. 3 was deeply heartfelt, the Marvels was an enjoyable watch, but Antman and the Wasp: Quantumania definitely felt like a misstep, and the last Captain America: Brave New World certainly didn’t feel like it had exploited all the opportunities available. So, when Thunderbolts* arrived to round off this phase, featuring a team comprised of C-list villains, it was hard to generate a lot of enthusiasm. Thankfully, this film showed that Marvel still has what it takes to thrill and inspire us in equal measure. 

Loosely inspired by a group created from the comics, the Thunderbolts were a team of villains masquerading as heroes who in some cases, ended up genuinely reforming. If that premise sounds familiar, that’s because it’s essentially the idea behind Suicide Squad, (a film so bad that D.C. had another go at making a Suicide Squad film and we the audience, were more than happy to just let them).  

The original Avenger line up, whilst compelling, always had some distance between themselves and the core audience. A super soldier, a billionaire genius, a rage monster, a literal Norse god and a super spy carried the bulk of the story. That level of brilliance in a set of characters can be inspiring but also alienating. How for example, can a person relate to Steve Rogers? A character whose main defining trait is to always make the right moral choices and be universally respected for it? 

The Thunderbolt team is not so respectable. U.S. Agent, (Wyatt Russell) the Red Guardian (David Harbour) Bucky Barnes, (Sebastian Stan) and Ghost (Hannah John-Kamen) have all at some point been trained assassins. The film goes to great lengths to show all of these characters being broken in some way or other. None more so than the character of Yelena. 

Whilst this film is definitely an ensemble picture, they make no qualms about putting Florence Pugh‘s Yelena Belova front and centre of the story. Pugh’s star power showed that it could hold up alongside Marvel veterans like Scarlett Johansson and Jeremy Renner, and it’s put to good use here. The film opens with Yelena having something of an existential crisis. “There is something wrong with me” her internal monologue says; “An emptiness. I’m just…drifting. And I don’t have purpose.” Granted having a job where most of the individuals you meet are people you are either going to kill or incapacitate would indeed make loneliness an occupational hazard. But despite the fantastical circumstances, many viewers will be able to relate to the feelings presented.  

It's this awareness of her own struggles then, that perhaps makes Yelena best placed to help ‘Bob’, an affable, self-deprecating young man. Bob (played pitch perfect by Lewis Pullman, son of the great Bill Pullman) is given god-like powers by Julie Dreyfuss’s Valentina Allegra de Fontaine, in the hopes of making him a protector for the earth against any inter-galactic threats. With his new powers, Bob is virtually unstoppable. There’s just one problem; Bob clearly suffers from some type of crippling depression, which when amped up with super-powers makes him ‘The Void.’ His appearance; a black outline sucking in all detail save for two pin pricks of light where his eyes should be, combined with the ability to effortlessly turn people into black scorch marks, is the stuff of nightmares. Move over Churchill’s ‘black dog’, we now have a new metaphor for depression and its all-consuming power.  

Battling depression is an area where the church is still lagging behind the world at large. “A depressed Christian has a double burden” writes Dr John Lockley in his book A Practical Workbook for the Depressed Christian, “Not only is he depressed but he also feels guilty because, as a Christian, he feels he is supposed to be full of joy.” 

In some evangelical circles, depression is either treated as something that doesn’t exist, is minimised, or mistakenly believed to be the result of unconfessed sin. Spiritual leaders who are ignorant of the nuance around mental health believe that depression can simply be prayed away. When that doesn’t work, they can often blame the sufferer for their lack of healing, putting them in a very lonely place. “One of the most painful elements of mental illness is that it’s marked by isolation, which is exactly the opposite of what people need” writer Amy Simpson said in a 2014 interview; “And one of the things people with mental illness most need is for this kind of loving community to tighten around them, not to loosen”. Why is this relevant to a superhero blockbuster? Well, the climax of the film does a great job of illustrating a positive approach to mental health.  

The finale of Thunderbolts* somehow manages to have its cake and eat it. Once again, New York is in need of saving, but also, it’s about trying to help a young person overcome their depression and not completely succumb to The Void. Being able to go into someone’s mind and see their core traumas writ large is the most comic book conceit in storytelling. Inside Bob’s psyche, we see him trying to fight The Void, and failing, and it’s only when he has help from the rest of the Thunderbolts* is he able to get a temporary release from The Void’s grip. It would be a mistake to over-state this scene as a full-on treatise on how to tackle mental health issues, but it might just have some clues as to how to go about it: 1) don’t expect that any battle with depression is decisive. It can always come back and it’s better to prepare for that possibility and 2) you don’t have to battle it alone, it would be madness to even try.  

It's a surprisingly sincere place for a seemingly wry film to end, but it really, really works. It could be that expectations may have been lowered, or that we were expecting a film with the emotional depth of a puddle. But Thunderbolts* wildly exceeded expectations, and as the best post-credits scenes often do, there’s a promise that the best is yet to come.  

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