Article
Community
Culture
7 min read

Think little: what villages teach about coming together

Elizabeth Wainwright explores the frustrations and encouragements of village life, real and virtual, and finds a need for communion.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A miniature tableau depicts a band performing at a concert as people dance and others watch from a marque.
A miniature village fete, Élancourt, France.
Frédéric Bisson, via Wikimedia Commons.

Since the birth of our daughter in May, I’ve been thinking about the village that it will supposedly take to raise her. I’m curious about where - or what - that village is today.  

A meme I saw on social media depicted Tom Hanks in his role in the film Castaway, edited so that instead of being alone on a desert island, he was walking through an empty city shouting:  

“IS ANYONE OUT THERE?”.  

The creator, a mother, had added a caption:  

“Me trying to find the village that was supposed to help me raise my children”.  

I clicked on the comments - there were hundreds of responses of all kinds:  

“Hyper independence is a narrative that is pushed on mothers” / “the world our grandparents and parents grew up in no longer exists” / “our lives are too busy” / “there is no village” / “the village is there but it takes work / “I struggle with ‘it takes a village, because for those of us who don’t have one, it highlights feelings of isolation” / “loneliness and isolation are a reality of our modern way of living, mothers especially feel this”. 

It seemed that other mothers were thinking about their village – or lack of it - too.  

My husband and daughter and I live in an actual village in rural Devon. In the summer, we went out into the garden, and - hearing a noise from the back of the house - turned to see one of our neighbours at the top of a ladder fixing a broken roof tile. Another neighbour was standing at the bottom of the ladder holding it in place. We hadn’t asked them to fix it - we’d only mentioned needing a new roof tile in passing. My heart swelled. Though not directly caring for our young daughter, they were easing the load by caring in the way they knew how. 

Online community is vital for me, and it is also lacking. Physical local community is vital for me, and it is also lacking. 

That act of neighbourliness made me wonder whether the village that will help raise our daughter is the literal village we live in. Here, there are people who care for this place and the people in it. Here, there is soil into which I can plunge my hands, anchoring me in this time, this place, amongst these people, all of it working to create a web of interdependence and care which I hope will steady us all in the face of a burning and unknowable future. But we’ve only been here a couple of years, and our stories don’t yet intertwine with the roots of the place. That takes time, and interdependence takes my little family being the village for others as well as benefitting from it. And there are days when I feel I have little capacity to reach out to others.  

Living in a small rural village can also be hard. A welcome is not guaranteed, relationships often have to bridge real difference. And whilst historically the village was a physical place with clear edges, family roots, and familiar neighbours, that’s now not most people’s reality. My husband and I have lived in various places over the years, our scattered friends part of our journey still, even at a geographic distance. Whether or not a scattered village is possible, it knows me in a way that our local village does not and perhaps cannot. It is part of a social fabric that will weave around our daughter, despite not being immediately accessible day to day.  

Or perhaps the village is increasingly virtual, made up of likeminded connections we draw near to online. Here I find not hands-on help, but understanding, ideas, encouragement, and a sense of possibility, even amongst people that don’t know me especially well. I find sustenance here, but I also know I close off real life encounters - and a more nuanced and unfiltered understanding of the world, of difference, of community - by investing in self-selecting online communities. And I want my daughter to encounter difference, to know that people can love and be loved even when they are nothing like her.  

Online community is vital for me, and it is also lacking. Physical local community is vital for me, and it is also lacking.  

They invite me to wonder but also to ‘think little’ as farmer and author Wendell Berry advocates, at the scale of this person, this relationship, this place.

And so I wonder what the village is, what it is becoming, and how we find it. Because whilst we’re told it takes a village to raise a child, in practice we often move to follow jobs, we live in isolated units and hear messaging that praises individualism and self-sufficiency and being able to do and have it all. And it can be as hard to call on the village as to find it in the first place - it can even be hard to accept the help of the village when it’s right there offering itself to us, so strong is the pull to look like we’re holding it all together, or to not burden others (I say this from experience). So we carry on trying to do it all ourselves.  

I find myself turning to ancient things for guidance. The Christian idea of communion – a table, bread, and wine shared in community – is beautiful to me, both in how it is practiced and what it represents. Bread and wine grow and are consumed in a particular place, at a particular time. The community that shares it is knowable, together at this particular time in the world. That this entrance into faith depends so much on place and time feels significant. Communion could easily be a mystical, cerebral, hard-to-grasp idea. But crucially it’s also personal, accessible, locatable. And church - not the idea or the institution but the local gathering place - can be a place where we find this access too, as can gardens and fields and food; tethers that remind us of this created earthy peopled world. To me, these things call me back to living here and now. They invite me to wonder but also to ‘think little’ as farmer and author Wendell Berry advocates, at the scale of this person, this relationship, this place. There is a tendency to think big when it comes to solutions to world crises when perhaps thinking little - at the scale of the ‘village’ - is more actionable, more sustainable, more appropriate – a solution that works here might not work there, and that’s ok. Berry says in multiple thoughtful ways that ‘what we stand on is what we stand for’. His is a call to know place, to invest in place, to be in place, despite (and perhaps because of) the challenges that come with doing so.  

I think the local is going to become more important - calling us to find our way back to community in a time of division and overwhelming global challenges. 

‘Thinking little’ might happen in a street, a church, a garden, a neighbourhood. A place where we can root into literal or metaphorical soil, where isolation can turn to relation, where interdependence becomes easier to live out. It need not be an either/or between this and geographically distant or online communities though - I think online spaces offer their own care in the world as it is. But the communion table shows me hospitality as well as mystery, and Jesus – whose body communion draws us closer to – shows us a truth built locally, relationship-by-relationship. It calls us to the challenge and beauty of caring and being cared for in our own here and now. 

Perhaps the early Christians had it right by being deeply invested in place, and in something beyond place too. They lived locally whilst acting globally and spiritually, ready to leave if the call should come. They were ready to build the church, person by person into something whole. God, after all, calls us to be a collective, to love our neighbours and in return, to feel love. I think the local is going to become more important - calling us to find our way back to community in a time of division and overwhelming global challenges, when faceless corporations would rather we relied on them than each other. As part of that, I think it’ll become important to engage with local civic bodies too, to all feel able to take part in placemaking and decision-making, especially when national government seems increasingly out of touch (my time as a District Councillor has given me a whole new lens on what living locally means). 

Working out what the village might mean – as a mother, a citizen, a neighbour – as our daughter grows is an ongoing journey and it’s a theme I’ll return to here. But what I know is this: that I want us to be part of an ecology of care. I want us to offer and more graciously receive that care. I want us to be like the trees outside my window: linked together, rooted in place whilst reaching upwards and outwards to the light that is sometimes hard to see, but is always there.   

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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