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
Culture
Film & TV
Trauma
Work
5 min read

What would Pascal make of Emmy-winner Severance?

Locking ourselves away in a room still doesn’t work

Rick writes and speaks on leadership, transformation, and culture.

Pascal ponders a steampunk TV showing Severance.
Nick Jones/Copilot.

Severance, the hit Apple TV series, garnered the most Emmy nominations at the star-studded 77th Emmy Awards. Colors and fame popped on the vibrant red carpet as Hollywood’s elite strolled along the walkway, exuding famous smiles, elegant evening wear, and their signature flair.  

It was strikingly ironic, however, to see the Severance actors in such formal attire, ripe with ready-made smiles. Their presence was, well, very Hollywood. This contrasted sharply with their on-screen characters, who are typically set against a dark, desolate backdrop of despair, compelled to force smiles as if it were an immense burden on their very souls.   

The stark contrast between the opulent Hollywood red carpet and the sterile, bland workspace Severance is set in underscores a core theme in the show: the tension between faith and doubt, belief and despair, light and darkness. 

In the show, the main character Mark S. grapples with the challenge of navigating his own tension in his own calibrated nightmare of hope and despair. He has to cope with the sudden loss of his wife, and it's suffocating him.  

His company, Lumon, helps him deal with this loss through a surgical procedure called Severance. This procedure implants a chip in his brain that creates two separate identities: an "Innie" for work and an "Outie" for home. These two co-existing selves are emotionally, physically, and psychologically unaware of each other, essentially severing the person's whole self into two pieces. Whatever they are trying to bury or escape, becoming “severed” keeps the person’s “Innie” from dealing with this delicate paradox of the “Outie”. In short, they don’t have to choose the light or the dark.  

For Mark S., severance offers a thin thread of disguised hope, a potential breach in his unbearable pain. 

In his Pensées, French philosopher Blaise Pascal explores this intrinsic human tension between faith and doubt, belief and despair - a fundamental aspect of the human experience. He says, "In faith there is enough light for those who want to believe and enough shadows to blind those who don’t."   

He posits that the evidence between the light and the shadow is just enough to sway us in one direction or the other. It’s calibrated on either side allowing us to lean into our personal autonomy. We are free to choose the hope of the light or succumb to the despair of the darkness; the outcome depends entirely on what we choose.  

Leaning into Pascal, the act of severance relieves Mark S. of this beautiful yet complicated tension.  

A review on Reddit said it simply, “Severing allows Mark to just literally shut his brain off, get the work done, then go home and distract himself with TV and alcohol... he doesn’t want to let it go.”  

It’s real pain and he doesn’t know how to manage it. The shadows are pervasive. However, by choosing severance, Mark avoids the light and the shadows. The more he relies on severance for hope or healing by attempting to bury the shadows, the more the shadows intensify - the shadows Pascal says will blind us in our disbelief.   

The battle that Mark S. faces embodies the very tension that Pascal is surfacing. This tension of choosing the light or the shadows is something we all must face.  

We all carry shadows wrapped in our own circumstances. I think many of us would likely prefer to avoid confronting them. They are painful. They are dark. They are heavy. In truth, if we had the choice I think many of us would likely choose an escape instead of dealing with the darkness, with the secrets and the pain that hide in our souls.  

For example, many of us show up to work or to life like Mark S. in some version of our “Innie” - a professional face of compliance, rule following, corporate persona, goal oriented, etc. and leave the version of our “Outie” at home alone and isolated to wrestle with our demons, with our painful, confusing questions. We curate our internal messiness and disguise ourselves with our own “Innie”. 

For some, our day job is an actual version of a self-imposed severance.  

I wish this tension between the light and shadows Pascal speaks of was less “tense” to say it plainly, and yet it is an inherent, essential part of the human experience.  

This faith that both we and Mark S. wrestle with, by its very nature, lacks complete clarity; this tension is, in fact, a testament to this profound mystery of life itself. It's the wonder of life. There’s just enough data for us to lean into the light and also just as much for us to lean into the shadows. What we see depends on what we choose to believe in.  

This tension is similarly addressed in the Biblical book of Hebrews. It highlights Pascal's subtle paradox and defines faith as "the substance of things hoped for, the evidence of things not seen."  

The freedom to choose “the substance of things hoped for”, this inherent tension of Pascal, is the true marvel and mystery of life. It’s both messy and wonderful.  

Our capacity for choice, to engage with the light and shadows and to lean into one over the other as we wish is a profound gift.  

While some find this very tension a reason for disbelief, Pascal tugs on this and says it's actually fundamental to belief, it's a wonderful component of the human condition - a true gift. It hints at the very essence of hope. It’s the same process we must engage when choosing to believe in or not to believe in something beyond our selves, and ultimately beyond this world.  

This struggle, the shadows of pain and suffering and the light of hope and belief is precisely what makes us alive; it’s what makes us human. It points us to the heavens where hope and faith were authored.  

The question isn’t whether we have an “Innie” or an “Outie”, a tension of light and darkness, of faith and doubt. We all do. We all wrestle with this essence. The question is do we have the courage to wrestle with these internal conflicts, enabling us to bring our whole selves - our flaws and pains, our joys and hopes  - into every interaction. 

This tension Pascal speaks of is ultimately a mirror that shows us, us. We are all tempted to numb our pain, divide ourselves, to compartmentalize the shadows. But Pascal reminds us there is always enough light to see, if we choose it.

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