Article
Belief
Culture
Time
5 min read

Ted Giola is right: we’re all addicts now

Addiction to distraction prevents deep thought about our place in time.
A clock repair peers at a clock he is repairing, amid a see of alarm and wall clocks on display

There’s a joke told by David Foster Wallace in a speech called “This is Water”. Two young fish are swimming and come across an older fish swimming the other way. The older fish says “Morning boys! How’s the water?” The two fish swim on until one of them turns and asks, “What the hell is water?” Unlike fish, however, for humans time is the water in which we swim. There can be no understanding or meaning in life without time.  

Take the ending of the old BBC sitcom Blackadder Goes Forth. It’s set in World War One, as a group of soldiers try to escape the near-certain death of going over-the-top. In the last episode, they are stood at the foot of their trench, waiting to attack the enemy. Suddenly, the artillery stops. One soldier takes this as good news: “It’s over!” he shouts, “The Great War: 1914 to 1917!”  

This joke only makes sense with time. I can only find this funny from the perspective of someone in a different time from those in the narrative. This only makes sense to someone who knows the war instead finished in 1918. Time makes the joke.  

Robert Jenson, the late American theologian, was wrong about a lot. But he was often wrong in the right way. Jenson wasn’t afraid to follow through on the implications of some of Christianity’s most fundamental claims, even if led him down paths others would be wary of treading. If Jenson ends up entering the pantheon of the Church’s great teachers, it will be for his flaws as much as his successes.  

We are, Giola argues, entering a ‘post-entertainment culture’. We’re no longer seeking entertainment. We’re seeking distraction. 

One of the most helpful aspects of Jenson’s theology is on time. We often think of time as some sort of process, a way of moving through life and getting from A to B. However, Jenson stressed that time is a creature: a thing given existence by God, not just some neutral aspect of the universe to be taken for granted. God is without time and may have created us to be creatures without time, too. But God did create time and created us to live within time. This suggests we might learn something about human nature by reflecting on what it means to be creatures that inhabit time.  

But time is so ubiquitous that we can’t think about time except as creatures within time. It is, in other words, like trying to bite your own teeth.   

Okay, great. Time is important. Big deal. Why should you care? Isn’t this just the sort of nonsense philosophers come up with to look busy? Well, this matters because our ability to think with and in time is under serious threat. And with it, our ability to flourish as creatures.  

For the last two years, the famed music critic Ted Giola has offered his thoughts on the state of culture. This year’s is a rather bleak read.  

Giola argues that we’ve misunderstood the relationship between art and entertainment. We often think of art as something done for the artist, while entertainment is something done for the audience. Creatives must choose whom they create for: themselves, or their audience.  

Instead, Giola suggests it’s better to think of a food chain. Entertainment is parasitic upon art and uses the artistic to fuel its inexorable growth. Recall Martin Scorsese’s infamous comments about the Marvel cinematic universe: they’re not cinema, they’re rollercoster rides; they’re not art, they’re entertainment. 

But there’s always a bigger fish. We are, Giola argues, entering a ‘post-entertainment culture’. We’re no longer seeking entertainment. We’re seeking distraction.  

But the short-term, instant response culture that social media habituates us to cannot come at the expense of the long-term work of genuinely deep thought.

Films become TV shows become TikToks. Books become blog posts become tweets. The ways in which we engage in reflection upon the world around us are increasingly reduced to shorter and shorter soundbites and the expense of substantive, thoughtful analysis. 

Distraction involves short, repetitive interaction with stimuli to produce dopamine hits. Because this leads to pleasure, we repeat the process until we become habituated to it. We become addicted to it.  

Crucially, this addiction to distraction itself is the very thing being sold. We don’t become addicted to the content of what we watch; we become addicted to the form of it. “The medium is the message,” Marshall McLuhan famously said, and so it is here too. We are becoming habituated to addiction itself. Distraction is merely the way in. We are, as Giola shows, all addicts now. 

There are, of course, numerous worrying issues this raises. Giola himself does a fantastic job at covering some of them. However, in addition to all the psychological harm this addiction does, our addiction to distraction is curtailing our ability to inhabit our nature as creatures in time. 

As we saw earlier, time brings perspective, and perspective brings understanding. We depend on time itself to help us make sense of events in the world and in our lives. The creature that is time is, in this respect, a gift from God and a reminder of our own limitations as co-creatures with it. 

But, the more we become addicted to short-term distraction, the less able we are to inhabit understandings of the world that emerge as a result of long-term reflection and deep thought. We are becoming creatures in time who are gradually losing sight of our dependency on time itself to understand what is most in service of the common good.   

Look, social media and everything that accompanies it can be great. The ability to respond to news in real time has its benefits. Public narratives have become increasingly democratised and that is only a good thing. But the short-term, instant response culture that social media habituates us to cannot come at the expense of the long-term work of genuinely deep thought. 

If we are to move away from the near-universal sense that everything is on the verge of collapsing into chaos, perhaps the first step we might take is to begin again to work with, not against time. If the short-termism underwritten by addiction to distraction is one of the myriad factors that contributes to our pervasive sense of unease, perhaps we might commit to thinking more slowly? 

Robert Jenson was right; time is a creature. We forget this at our peril. Some things can only be healed with patience and the slow passage of time. Until we retrieve an understanding of time as gift, not burden, our capacity to grapple meaningfully with the real substantive issues we face will remain beyond our reach. 

Article
Character
Culture
Film & TV
Purpose
6 min read

Tom Cruise’s Ethan Hunt offers a blueprint for life

The latest in the Mission:Impossible franchise dares to ask some surprisingly existential questions

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Tom Cruise runs.
What happens we he stops running?

When it comes to action movies, most of us aren’t looking for philosophical musings as much as a dose of adrenaline-fuelled escapist entertainment. Few franchises understand this better than  Mission: Impossible, which has consistently delivered on that front—train wrecks, car chases, gun battles, bomb blasts, submarine fights, knife fights, fist fights, dog fights, and, of course, running. Lots of running. 

The latest blockbuster in the franchise, Mission: Impossible – The Final Reckoning — which Tom Cruise has suggested may be his last outing as Ethan Hunt — is no exception. But alongside its brilliantly choreographed action scenes, the film also dares to ask some surprisingly existential questions. 

Who wants to live forever? 

Tom Cruise has achieved legendary status not just for his acting, but for his relentless dedication to performing the most technically demanding stunts in cinema history. Over the years, he’s scaled the Burj Khalifa, clung to the side of a plane during take-off, parachuted from 25,000 feet, flown helicopters through perilous terrain, and held his breath underwater for more than six minutes—without a stunt double in sight. 

Now 62, Cruise would be forgiven for taking it easier. Instead, after performing in what one director has called the most ambitious stunt in cinematic history: launching a motorcycle off a cliff, a mid-air dismount, followed by a parachute drop in the previous movie, Cruise has upped the ante again by engaging in an aerial battle atop a biplane flying at 10,000 feet. This involved climbing onto the wing of a moving aircraft travelling at 145 mph enduring hurricane-force winds, while the pilot performed manoeuvres designed to dislodge him. 

Cruise has become something of a cultural symbol of immortality. His character, Ethan Hunt, continually evades death, rarely stopping to mourn the losses of others—even those closest to him. But this film feels different. It asks how long someone—real or fictional—can continue to outrun death. 

Watching Hunt - and Cruise - cheat death time and again may be entertaining, but it also taps into something deeper. A recent COMRES survey revealed that the top four human fears are all death-related: dying in pain (83 per cent), dying alone (67 per cent), being told they’re dying (62 per cent), and dying in hospital (59 per cent). Final Reckoning doesn't just distract us from these fears—it subtly forces us to confront them. No matter how fast, fit, or famous we are, none of us gets out alive. 

What is life really about? 

Because the line between Ethan Hunt and Tom Cruise is now so thin, Dead Reckoning plays almost like a eulogy to both. The film opens with a message of thanks from the President of the United States: 

“Good evening, Ethan. This is your President. Since you won't reply to anyone else, I thought I'd reach out directly. First, I want to thank you for a lifetime of devoted and unrelenting service… Every risk you've taken, every comrade you've lost, every personal sacrifice you’ve made, has brought this world another sunrise.” 

The sentiment feels a little self-indulgent. The camera rarely leaves Cruise, and nearly everything and everyone else feels like a garnish to his character. He gets the best lines, the best cars, the best love interests, the best scenes. At times, Dead Reckoning feels a little like Mamma Mia! — a loose thread of a plot connecting a series of spectacular set-pieces rather than musical numbers. 

Still, as the franchise nears its end, it’s bittersweet to say goodbye to a character who’s become part of global popular culture. And it prompts a deeper question: If we can’t look back on our lives and say we gave the world another sunrise, what does make a life well-lived—for those of us who don’t defuse nuclear bombs before breakfast? What have we personally sacrificed for the greater good?  

Who Is expendable? 

With a body count hovering around 500, the Mission:Impossible series has never shied away from collateral damage. Ethan Hunt has always been portrayed as someone willing to expense the few to save the many. 

But The Final Reckoning confronts that idea. It reintroduces William Donloe, a minor character from the original 1996 film, who was the CIA analyst that got reassigned to a remote outpost in the Bering Sea after Hunt famously infiltrated his high-security vault - in that iconic scene where Cruise is suspended from the ceiling, inches above a pressure-sensitive floor, and drops his commando knife, point-first, into the desk. Now, decades later, Hunt seeks him out to apologise. 

Surprisingly, Donloe responds with grace. He says the reassignment was the best thing that ever happened to him: it led him to meet the love of his life. Though he had lost everything in a house fire caused by Hunt’s team, he had managed to salvage the commando knife from the original vault heist and gives it back to Hunt as a token of his appreciation. 

This could have been a moment of genuine reflection for Hunt—a chance to reckon with the unintended consequences of his actions. Instead, it serves to reinforce the idea that even Hunt’s mistakes are somehow for the best. Hunt is presented as almost messianic—an infallible saviour whose instincts are always right. 

But this portrayal contrasts sharply with the biblical Messiah, who taught that no one is expendable. In Jesus’ teaching, every life matters, enemies are to be loved, and compassion is both the means and the end. The ends never justify the means. Love is the mission. 

Who Is my neighbour? 

One of the deeper themes of the film is the tension between loyalty to those closest to us and responsibility to the wider world. Hunt’s enemies consistently try to exploit his love for friends and family, exposing it as a vulnerability. On a number of occasions, the villains kidnap or threaten someone close to Hunt in order to manipulate him. He is faced with the dilemma - to save the one he loves, or to save everyone else? 

At one point, a character offers this reflection: 

“We all share the same fate—the same future. The sum of our infinite choices. One such future is built on kindness, trust, and mutual understanding, should we choose to accept it. Driving without question toward a light we cannot see. Not just for those we hold close, but for those we’ll never meet.” 

It’s a powerful line—one that challenges narrow tribalism in favour of a universal compassion. In recent years, some have tried to co-opt Christian ethics in support of nationalism, prioritising loyalty to family, faith, and country above all else. But this film’s ethos cuts across that narrative. 

In an age of toxic patriotism and growing division, it’s striking that an international superspy like Ethan Hunt seems to offer a profoundly global vision: act not only for those we love, but for the good of the whole world—even at great personal cost. 

Hunt’s worldview echoes a deeply biblical theology: every person has worth, and we’re called to love our neighbour—including those who don’t speak our language or share our culture. The franchise promotes a genuine Christian ethic of sacrificial love. And why not? At the heart of Christianity is the story of a God who sent His Son on a seemingly impossible mission to save the world. 

It’s hard to miss the moral and theological framework that underpins Final Reckoning. It is, perhaps, this foundation that makes Ethan Hunt’s character not only thrilling but deeply human. Amid the explosions, stunts, and spectacle, Mission: Impossible makes us think, and subtly reminds us that the greatest mission of all might be love. 

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