Article
Comment
Economics
Politics
Trust
5 min read

Tariffs destroy trust so where do we go next?

Blunt weapons cause a mess in markets and lives.

Paul Valler is an executive coach and mentor. He is a former chair of the London Institute for Contemporary Christianity.

A gold coin with the DOGE dog on it, lies over the face on a $50 bill.
So doge-y.
Kanchanara on Unsplash

‘When America sneezes the rest of the world catches a cold’ quipped economists almost a century ago after the Wall Street crash.  A comment that might equally apply to the more than 10 per cent drop in stock markets caused by President Trump’s sudden raised tariffs on imports to the USA.  The impact of the American economy on the world is inescapable.  It represents almost a quarter of global GDP and the dollar is the leading reserve currency, accounting for around 60 per cent of international foreign exchange reserves.  Size is what enables America to bully the rest of the world. 

For decades the American trade deficit has been an elephant in the room and Trump is to be applauded for recognising it and addressing the problem. Unfortunately, the way he has gone about it has caused another, bigger problem. Changing the direction of the global economy is like turning a tanker, it cannot be done easily or quickly, but Trump’s style is to attack, like hammering at a nail.  Every issue in geopolitics looks like another nail, waiting for him to hammer out a negotiated deal.  Full marks for courage, but not for wisdom. The blunt weapon of trade tariffs is designed to bring wealth and power back towards the USA, but blunt weapons often cause a mess, and sure enough a global mess is what we now have.  A US/China trade war with higher prices that could end up stoking inflation and a government own goal.   

Panic selling of government bonds signalling a loss of confidence following Trump’s dramatic tariff boost is reminiscent of the impact of Liz Truss’ sudden and radical UK tax cuts, which were also driven by an ideology, but ended up as a wrecking ball.  Even some of Trump’s backers have warned of an economic nuclear winter.  In the long run, Trump has done the world a favour by highlighting a structural issue that needed correction, but his economically violent methods of addressing it look increasingly unwise.  If a global depression does happen on the back of all this, then coupled with the rise of autocratic and belligerent leadership, we would face a worrying parallel to what happened in the 1930s when the world eventually slid into war.   

Tariffs are like walls, barriers to cooperation and the epitome of economic selfishness.  Make America Great Again is selfishness writ large - a society pursuing wealth and power without the cohesive framework of values that are so essential to cooperation and community wellbeing.  A psychology of self-centredness that damages relationships at the national level.  This is what I find most concerning about Trump’s approach; not just the economics but the long-term legacy of relational damage that could last well beyond his Presidential term. 

Our fears reveal just how much we trust in wealth above everything else, and how much the fear of scarcity affects our mental health.

Michael Schluter in his book The Relational Lens defines five principles, or measures, of relational health.  They are directness, parity, common purpose, continuity and breadth.  Applying those five measures helps us see why Trump’s tariffs are the polar opposite of relational.  He introduced these escalating penalties remotely and not in face-to-face negotiations.  Exploiting the power of America instead of showing respect for the status and needs of other nations.  Tariffs have no common purpose with other countries, only a selfish agenda.  There is no continuity with previous trading protocols.  And it is all purely financial, with no reference to the broader holistic impact.  All in all, a relational disaster.   

Despite living in the ‘first world’ we remain gripped with fear of loss.  Our fears reveal just how much we trust in wealth above everything else, and how much the fear of scarcity affects our mental health. Markets are not entirely rational; they are driven by algorithms that stem from this psychology of greed and fear.  Emotions and trading swing wildly with a herd instinct that often drives behaviour.  As Rabbi Jonathan Sachs said:  

‘Markets have no moral compass; we have outsourced morality to legislation by the State.’   

But the worry now is that the current US administration shows signs of ignoring morality and even riding roughshod over the courts.  No wonder people feel afraid. 

Where can we find hope in all this turmoil?  Is there a better response than gritted teeth and the mantra: ‘this too shall pass’?  I think so.  There is life beyond the market.  Jesus said: ‘life does not consist in an abundance of possessions.’  We can choose to step back and look at all this with the true perspective that money isn’t everything.  We can cultivate gratitude for what we do have.  We can learn contentment.  Yet I feel for those who have experienced financial loss, and don’t want to minimise the reality of hardship.  In fact, something important and practical all of us who are privileged can and should do is to be vigilant in watching out for those who are poor and disadvantaged.  To look after those with a real need for the basics of life and help them through this tough time when economic disruption could make life even harder.  For those with a faith this is part of working out how our faith makes a positive difference where we are. 

Perhaps the supreme irony of this crisis is President Trump’s insistence that Americans must trust him.  Ironic, because the one thing that his tariff actions seem to have undermined more than anything else is trust.  The trust that is essential to the functioning of both markets and civilisation as a whole.  Face to face discussions must be the way forward now, to rebuild trust and find more nuanced, mutual approaches to solving America’s trade deficit.   

There is one person we can always trust though, and his name is written clearly on the American One Dollar bill. In God we trust. Let’s pray that Trump and his America returns to that imperative and turns back to a more Christ centred philosophy of loving our neighbour as ourselves, reflected in a more bilateral approach to diplomacy and agreement.

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Review
Culture
Film & TV
Monsters
Race
4 min read

Sinners is standout thanks to Ryan Coogler and his ‘no stupid people’ rule

A cleverly choreographed culture clash between the living and the un-dead.

Giles Gough is a writer and creative who host's the 'God in Film’ podcast.

Two actors in 1930s clothes sit in an open car while the film director gestures towards them.
Delroy Lindo, Michael B. Jordan, and Ryan Coogler.
Warner Bros.

Coming off the back of Black Panther and Creed, Ryan Coogler fights off franchise fatigue with Sinners, a historical crime drama turned horror film that might be his most personal film yet. Set in 1932, Michael B. Jordan plays twin brothers returning to their hometown in rural Mississippi to open a juke joint. But a trio of guests, both unwelcome and undead, crash their opening night. 

Any film set in the Jim Crow era South following a Black protagonist can set off warning bells for savvy audiences. The blatant racial oppression can often bring with it a fair share of trauma porn. But that’s not what Sinners is about. For a significant chunk of the run-time, the film is downright hopeful. Jordan’s dual role as the brothers Smoke and Stack presents them as dangerous and driven, but also compassionate, responsible and endlessly charismatic – the type of figures who could easily become folk heroes. There’s a scene where Jordan’s Smoke not only employs a young girl to watch his truck, but also teaches her how to negotiate, doing himself a worse deal in the process. Watching them recruit musicians, cooks and sign-painters for their juke joint from the under-appreciated and under-paid is a compelling exploration of Black enterprise. 

As night descends, and the juke joint opens for business, this peek into Black enterprise turns into a delightful celebration of Black joy. Chris Hewitt of Empire magazine referred to this film as a ‘stealth musical’ and it’s not hard to see why. Almost every main character gets a musical interlude of some sort. The standout by some distance is newcomer Miles Caton, who plays Sammie, the guitar-playing cousin of Smoke and Stack, who they recruit as the centrepiece of their entertainment for the night. Sammie is at the centre of a musical sequence that will have you leaning forward in your seat in amazement at what cinema is capable of. This film brings with it its own mythology, telling us that there are people whose music is so transcendent, they are capable of piercing the veil between the past, present and future. Sammie is one such person, and his talent attracts everyone for miles around, including ancient Irish vampire, Remmick, played by British star, Jack O’Connell.  

Perhaps what’s unusual for a vampire film is that, as an audience, we’re having such a good time at the juke joint, we can almost resent the imposition of the vampires forcing themselves into the narrative. The racial parallels of these monsters might not be as obvious as the ones you find in Jordan Peele’s Get Out, but they are still there. Remmick, as the head vampire, gains the memories of each of his victims, and he wants Sammie’s abilities as a means to communicate through time with those he’s lost. (Yet another example of Ryan Coogler’s ‘no stupid people’ rule. Every character has a convincing reason for doing what they do, even the blood suckers.) The vampires here are drawn in by the music and can represent a white ruling class that wants to exploit Black music for its own purposes, in much the same way that culture vultures took music of black origin like the blues and rock, and popularised it with more palatable white artists like Elvis Presley.  

The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session.

Perhaps another reason why vampires are such a popular monster to revisit in western culture is how they are a literalised inversion of Christianity. In the same way that Christians are promised an eternal life through the blood of Jesus Christ, vampires get immortality through drinking the blood of their victims. Even the rule where vampires can’t enter a private building without permission could be seen as warped version of the image of Jesus standing at the door of our hearts and knocking as shown in Revelation, the last book in the Bible. Vampires are a perverted vulgarisation of what it means to be a follower of Jesus and this, on an unconscious level as a society, might be why we find them so fascinating. The way the vampires use words like ‘fellowship’ to make their dark gift sound more appealing to those still inside the building suggests Coogler is conscious of this parallel. The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session, further emphasises how music can bring people together.  

There are so many fascinating aspects to the film it’s impossible to mention them all, which might be deliberate on Coogler’s part, as he tells EBONY:  

“I wanted the movie to feel like a full meal, your appetizers, starters, entrees and desserts, I wanted all of it there.”  

While this does mean a sequel is unlikely, and some critics have complained of it being over-stuffed, it does mean that the film will richly reward repeat viewing.  

By now, Sinners will have no doubt secured its spot in many critics’ top films of the year. Ryan Coogler’s Sinners could so easily fall apart in the hands of a less skilled storyteller, but in the hands of one of the best directors of his generation, it absolutely sings.  

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

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