Article
Character
Comment
Film & TV
5 min read

Traitors reflects an age of deceit and disappointment

Behind the game play, we're yearning for authenticity and connection.

Alex Stewart is a lawyer, trustee and photographer.  

A montage shows a Scottish castle, the host of the V show the Traitors and a dark scary scene.
BBC.

‘What a tangled web we weave when first we practise to deceive.’ 

Some people, it seems, are not cut out to be liars. I felt for Freddie, one of the last contestants to survive on The Traitors, who found out the hard way. A fumbled recounting of a fabricated conversation with fellow Traitor Minah was enough to seal his fate, and soon he too was banished from the castle. The sad irony was that until his last-minute recruitment as a Traitor, Freddy had in fact been a Faithful for most of the show, insistently proclaiming his innocence and now cruelly denied his chance of vindication. But that’s all part of the game: shifting identities and alliances mean nothing is at it seems, and trusting is fraught with risk.  

Part of the success of The Traitors is that it has very successfully tapped into a pervasive national mood: the feeling that we are constantly being deceived, misled, spun or manipulated. This is hardly surprising. Trust in politicians and institutions is at an all-time low, eroded by scandals, misinformation and truth dodging. From the Post Office and the contaminated blood scandals to the manipulation of unpalatable facts to the non-apologies of the guilty, the British public has become increasingly sceptical of those in power.  

The 2024 British Social Attitudes survey, conducted by the National Centre for Social Research, revealed that public trust in the UK's system of government has reached a record low, while a similar survey by the OECD reported that only 27 per cent of people in the UK reported high or moderately high trust in government, well below the OECD average of 39 per cent.   

But it’s not just politicians and institutions that we distrust. The new world of deep fakes, misinformation, and AI-generated content seems also to have had a corrosive effect on our ability to trust one another.  A recent CREST Insights report indicates that only 41 per cent  of respondents now trust their neighbours, while the Edelman Trust Barometer tells us that this distrust has, for some, moved from resignation to outright hostility, with one in two young adults approving of hostile activism as driver of change - including attacking people online and intentionally spreading disinformation.  

With this backdrop, it is hardly surprising that the contestants of The Traitors are susceptible to high levels of paranoia, and see Machiavellian deceit and betrayal as their only way to survive and have any chance of winning.   

But the human cost of betrayal is high and psychologically taxing. The constant need to fabricate stories, remember lies, and manage the stress of potential exposure requires huge cognitive and emotional effort. The effects are tangible as the contestants suffer variously from anxiety, paranoia, and emotional exhaustion.   

Meanwhile the building paranoia is stoked by regular invocations of the dark supernatural as cloaked figures and effigies shift the atmosphere from wink murder to The Wicker Man, and Claudia presides over proceedings with the authority of a pagan high priestess. Even the game operates within a quasi-religious framework of sin, confession, and punishment. Players who lie and deceive will eventually face judgment, from their fellow contestants and the millions watching at home

What appeared to be crocodile tears turned out to be genuine tears of despair as the demands of the game took its toll on her conscience and integrity. “I hate it. I hate how I was.” 

Although everyone knows it’s just a game, the prolonged deception has real world repercussions that continue beyond the show's end.  Many of the contestants struggled to reintegrate into their daily lives, facing challenges in rebuilding trust with loved ones and grappling with their actions during the game. The vicar, Lisa, told of the discomfort of having to explain away her absence on the show as a ‘retreat’, while the winners, Jake and Leanne, both said how difficult it had been to adjust post-show, pointing to a lingering paranoia and the strain of having to keep their victory a secret. 

And yet, while betrayal and deceit define the show, it is often the genuine friendships and moments of trust that resonate most. Few will forget the ‘mother to mother’ pact made by Frankie and Leanne in the kitchen and the emotional final banquet when the suspicion and distrust were briefly lifted. Behind all the game playing, the yearning for authenticity and connection as an antidote to isolation could not be suppressed. 

There are also inspiring moments of hope, vulnerability and redemption. Alexander, the charming diplomat, tells his heartfelt story about his late brother, who had developmental disabilities, which prompted his fans to donate over £30,000 to Mencap. Jake, who suffers from cerebral palsy, overcomes great odds to become one of the winners, and Leanne and Charlotte open up about their struggles to conceive. Each contestant had a back story that humanised them. Even the aloof high priestess herself shed tears, albeit in unaired footage, over her contestants’ traumas.  

But it was Charlotte’s struggles that I found most inspiring. As the final Traitor, she seemed at first to relish her role with a very convincing series of lies, even turning on her fellow Traitor Minah. But it became apparent towards the end that, inside, she was in turmoil. What appeared to be crocodile tears turned out to be genuine tears of despair as the demands of the game took its toll on her conscience and integrity. “I hate it. I hate how I was,” she said later. “I felt so cruel. How I had to be to stay in the game – it was an immense pressure.”   

Catharsis, when it came, was through forgiveness, especially from Frankie, the contestant who perhaps more than any other had reason to be hurt by Charlotte’s betrayal; they had after all been best friends within the confines of the castle. Charlotte later admitted to badly needing her forgiveness, which gracious Frankie was only too happy to give.  

In an age of deceit and disappointment, Charlotte’s honesty, vulnerability and willingness face up to her actions and be reconciled with her victims, rather than justify them or offer a hollow non-apology, and Frankie’s willingness to forgive - offer us the hope that there can be a way out of the doom loop of deceit and broken trust.   

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Article
Comment
Death & life
Justice
Sport
4 min read

Diogo Jota, Thomas Partey, and the right to privacy

Distressing stories show that publicity hinders grief but enables justice
A couple hold each other as they look at floral tributes on the ground
Liverpool manager Arne Slot and his wife at a shrine to Dioga Jota.
Liverpool FC.

Content warning: rape and sexual abuse allegations are discussed in this article. 

It’s Thursday 3rd July 2025 and a friend has just sent a message. “Have you heard the news about Diogo Jota?” 

I love Diogo Jota. Love him. So I assume the worst. The club have sold him. He’s got another of the horrific injuries that have plagued his career. But the news is worse than the worst. 

“He and his brother died in a car accident in Spain,” the message continues. What? Surely not. But shortly afterwards the BBC News notification comes in. Diogo Jota and his brother André Silva have died in a car accident in Spain. 

It is unimaginably tragic news. The incident occurred just two weeks after Jota married his childhood sweetheart. He leaves behind three young children. His brother, André Silva, also recently married his partner in June. It is heartbreaking beyond words and seeing the tributes pour in from colleagues – no: friends – of the players only cements how upsetting a loss this is.  

It’s now Friday 4th July 2025. The day after Jota’s death. Another BBC News notification comes in. Now-ex-Arsenal player Thomas Partey is charged five counts of rape and one count of sexual assault. 

Jota’s death was an utter shock. The news about Partey is anything but. It was the worst-kept secret in football. Everyone knew that he was under investigation for rape. In 2023, the BBC reported that two Premier League footballers continued to be selected by clubs, even “while knowing they [were] under police investigation for sexual or domestic violence.” In January 2025, the BBC subsequently reported that the Crown Prosecution Service had been given “a full evidence file about a Premier League footballer accused of rape.” 

As The Athletic reports, Partey was first arrested in 2022. Between then and being charged in July 2025, he was arrested, questioned by police and then bailed again, seven times. Seven times. All while continuing to play for Arsenal.  

Again: everyone knew that Partey was one of the players in question. Everyone knew. But no-one could say anything.  

And the juxtaposition between the news about Jota and Partey has led me to reflect on the ways in which both stories have (or have not) been reported. I’m almost loathed to mention Jota and Partey in the same breath to be honest. But then that’s the tension underlying all this, isn’t it? Who is given privacy, and who isn’t? 

One man is arrested in 2022 on suspicion of rape and sexual assault. He is afforded over three years of privacy and is permitted to continue in his high-profile, six-figure-a-week-paying job. Another is killed in a tragic accident, and, in the immediate aftermath, his family’s privacy is invaded at every turn.  

Despite Jota’s family clearly and publicly asking for privacy, the media coverage of the tragedy was deeply invasive. The Daily Mail posted pictures of his recently wed wife outside of the morgue having just identified the bodies of her husband and brother-in-law. The BBC – in one of the most tone-deaf acts of journalism I can recall – covered Jota’s funeral. They wrote: “The family has asked for the funeral to be private, but you can follow live pictures from outside the church by clicking watch live at the top of this page.”  

I promise that’s not a joke. Irony really is dead. But the real irony of all this is that this is a deep perversion of how things should be.  

I may grieve with support from other people, but this is fundamentally a deeply personal and private act, not one to be undertaken under the public gaze. Justice, on the other hand, is enacted with the help of a jury of peers and is an act of public peacekeeping and safeguarding.  

It is appropriate for one act to be undertaken privately while the other is conducted publicly. More than this, they are essential to those acts. Privacy enables grief, while publicity hinders it. I can only grieve effectively if given the time and space to do so. By contract publicity enables justice, while privacy hinders it. If justice is enacted in secret, public trust is eroded and the justice system is undermined.  

Grief is private; justice is public. And yet Jota’s friends and family have been forced to grieve with the eyes of the world on them while Partey has been afforded years of luxurious privacy under the auspices of ‘justice.’  

Real violence and harm are done to people when the appropriately private becomes inappropriately public, and vice versa. The news of Jota’s death and Partey’s charging with rape exposes the deeply flawed approach to privacy we have.  

There is no goodness in either of these stories. There are no redeeming angles or silver linings here. They are both deeply upsetting and distressing. But if the stark contrast between the ways they have been reported causes us to reflect on how they ought (or ought not) to be reported publicly, then that will be something, at least. 

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