Article
Culture
Politics
Psychology
5 min read

To troll or be trolled?

Laughing at others conceals a terror of being laughed at ourselves.
Donald Trump gestures with his hands while someone holds a mic in front of him,

Politics and satire belong together, they deserve each other. Humour has been part of politics ever since the first jester dared jingle a bell in the face of a king. Those who get their kicks from bursting the bubbles of the pompous are drawn to the corridors of power like moths to a flame. But in recent weeks laughter has hit the headlines again. A couple of weeks ago, when Democratic presidential candidate Kamela Harris chose her running mate Tim Walz, the only thing most of us knew about him was that he was the one who had called Trump ‘weird’. A few minutes of furious googling later we knew much more, but the suspicion lingered that he had been picked for having finally answered the question that had plagued the Democrats for nearly a decade: how do you deal with Donald Trump? 

As a psychologist who works with leaders I have been asked this question numerous times. How do you go up against someone with the magnificent trolling skills of Trump? Is it possible to win against a person so adept at humiliating those who oppose him? And I think Walz is on to something. He hasn’t called Trump a threat to democracy or labelled his supporters a basket of deplorables. No. He has called Trump weird, and his supporters good dinner guests. Why is Trump weird? Because, says Walz, he has never seen him laugh. 

Trump is not the only one accused of being humourless. Our own former Prime Minister, Liz Truss, was equally unamused at becoming the butt of the joke, when a banner reading ‘I Crashed the Economy’ next to a googly eyed lettuce quietly descended behind her during an onstage interview. She left the stage abruptly and was quick to respond on X that what had happened was not funny. Most people thought it was funny and that she – like Trump – was slightly weird not to laugh it off, at least a little bit. As the political prankster Noël Godin once said: there is no better way to judge a person’s character than by how they behave when hit by a custard pie. 

We spend our lives subtly and unconsciously evading the slightest whiff of humiliation. 

There is however a deep psychology behind all this hilarity, or lack of it. For decades now psychologists have conducted numerous studies on the phenomenon of Gelotophobia. Not the fear of ice-cream, as one might initially think. Gelotophobes you’ll be pleased to know are perfectly capable of holding it together in the presence of a knickerbocker glory. What they fear is being laughed at, and as always this sounds infinitely more sophisticated translated into Greek (gelos/laughter, phobos/fear). Much of the gelotophobia literature is a heartbreaking tale of young people crippled by the fear that others will laugh at their weight, or their acne, or target them for bullying. Sticks and stones may break our bones, but mocking words it seems can leave us socially terrified for the remainder of our adult life. In its most debilitating forms gelotophobia is a cause for clinical intervention.  

But the study of gelotophobia goes further than treating the clinically distressed. Lurking among the samples and statistics is a wisdom that helps us understand why Trump and Truss are the people they are, and more importantly teaches us something about ourselves. Because most of us in some mild sub-clinical way are gelotophobes. We spend our lives subtly and unconsciously evading the slightest whiff of humiliation.  Margaret Atwood was no doubt right to say that men are afraid that women will laugh at them, and women are afraid that men will kill them. But many people would rather die than be laughed at. 

Could it be that our love of laughing at others conceals a terror of being laughed at ourselves? 

One of the primary findings about gelotophobia, is that those who are most scared of being laughed at are also scared to laugh. To say of Trump or Truss that they lack humour is equally to say that the last thing on earth they want is to be the object of laughter. Most gelotophobes were once victimised, ostracised or bullied, and humour was the chief instrument of their humiliation. They were forged by the cruel conditioning of mockery. As a result, they view laughter-eliciting situations negatively. In facial coding studies they show less joy and more contempt when presented with smiling joyful people. The inner freedom to join others in laughter has been quashed by the suspicion that the laughter of others is a threat. Some compensate for this by making sure they always have the upper-hand, always the troll never the trolled. Which speaks to another finding, more applicable to Trump than to Truss, that derisive humour is the way narcissists conceal their vulnerability. Behind every grandiose expression of superiority, lies a shame and inferiority that can be defended by attacking others. 

Gelotophobia ultimately is a subtype of our fear of being disliked, and if the bestseller lists are anything to go by, this is clearly a pressing concern for many people. Fumitake Koga and Ichiro Kishmi brought the wisdom of Japan to the question in The Courage to be Disliked, and Ryan Holiday did the same from a Stoic perspective in Courage is Calling. How to live in a world that shapes us through the threat of ridicule has been pondered for thousands of years. It even turns up in the New Testament of the Bible. When the disciples of Jesus stepped out to deliver their first public discourses, they were accused of being drunk, stupid and presumptuous. The word used to describe them in the historical sources is parrēsia, usually translated bold, but perhaps more accurately rendered the freedom to say anything (pas- all; rheō- to utter). For them freedom of speech was not a societal given but a virtue they enacted in spite of their society. 

In the ancient world the term parrēsia was more often used to describe the counter-cultural courage of the Stoic philosophers. But the disciples were not Stoics. They weren’t schooled in the rigours of Greek philosophy, but rather apprenticed to the Hebrew prophetic tradition. A tradition which equally appreciated the inevitable opprobrium befalling those who presume to critique and rejuvenate a stale culture. They were simply following the teaching of the master who pointed to ridicule, scorn and gossip not as PR disasters to be managed, but as prophetic honours to be celebrated. Or, as Marty Babcock once claimed, ‘Jesus promised his disciples only three things: they would be absurdly happy, entirely fearless, and always in trouble.’  

We should be cautious then laughing too much at the embarrassments that befall our political class, and perhaps more attentive to what our schadenfreude might point to within us. Could it be that our love of laughing at others conceals a terror of being laughed at ourselves? Even worse, what if vindictively celebrating their misfortunes is itself a symptom of the inner helplessness, inertia and unfreedom we claim to oppose? Or, to give the same question a more positive inflection: what would we be doing or saying differently if we were genuinely and entirely free of the fear of being ridiculed?  

Blessed are those who do not fear the laughter of others for they may change the world. 

Review
Culture
Film & TV
Hospitality
Romance
4 min read

From wheatfield to vineyard, can an ancient love story survive a replanting?

Ruth & Boaz finds new soil in rural Tennessee but struggles to grow

Giles is a writer and creative who hosts the God in Film podcast.

A couple hold each others hands as they face each other.
Tyler Lepley and Serayah.

Ruth & Boaz is a contemporary version of the most memorable love story in the Bible. The film tells the story of Ruth, a young woman who escapes the Atlanta music scene to care for an elderly widowed woman. Not only does Ruth gain the mother she never had, she also finds the love of her life in the process. 

The story of Ruth and Boaz is a straight up love story, and it serves as a much-needed respite from the biblical levels of violence in the books that precede and follow it in the Bible. So a modern update of the Ruth and Boaz story serves as good material for a heartfelt, sincere romance.

As part of Atlanta pop duo 404, Ruth Moabley (Serayah) is a talented singer who, after the death of her boyfriend and his father, is desperate to escape her menacing manager.  Ruth makes the impulsive decision to join her late boyfriend's mother Naomi, (Phylicia Rashad) as they both leave Atlanta for a small town in Tennessee to start over from scratch. The only job she can find involves labouring at a local vineyard, leading her to owner Bo "Boaz" Azra, (Tyler Lepley) who falls for Ruth the moment he lays eyes on her. Ruth holds tight to her faith and slowly begins to accept love, but her past is soon to catch up with her.

One of the joys of adapting a Bible story is often the characterisation. Phylicia Rashad’s Naomi is a complex, contradictory figure whose manifestations of grief are not always that sympathetic, pushing away all but the most insistent of helpers like Ruth. As the titular character, we spend a lot of time with Serayah’s Ruth. Making her a singer helps to flesh out the character to an extent, but the scenes where her individuality gets to shine are notable by their infrequency.  

Tyler Lepley’s turn as Bo Azra is perfectly serviceable. He’s essentially an idealised, handsome and muscled 40-year-old. Bo has a wealth of backstory; we’re told he served two tours in Afghanistan, then worked on Wall Street, and finally returned to his family business of the Azra Vineyard & Winery. Despite this, none of it really shows up in his characterisation. He spends his time being a generous boss, and an all-round basic good guy. All of which is great in real-life but can be a little staid in fiction. There’s very little about him to intrigue us, although questions have to be asked about how, if he’s so dedicated to making his business succeed, he managed to find the time to work on a truly magnificent set of abs. 

In a departure from the original Bible story, Ruth begins as a casual worker on Boaz’s vineyard. This is a reasonable change, as the practice of leaving grain after the harvest for widows and orphans to collect just doesn’t fit in a modern context. But in a post #MeToo world, this does create a power imbalance. They attempt to address this power imbalance of employer and employee when Ruth refuses to let Boaz buy her a drink. However, Ruth’s resistance quickly recedes when Boaz introduces her to Rn’B legend, Babyface. In this world, if you want to date one of your employees, all you have to do is introduce her to a Grammy-winning super producer to break down her inhibitions.

All of these shortcomings suggest that the script needed a few more passes, and the saccharine voiceover feels like it’s trying to make up for that. Credibility at times takes a back seat to the gloss of the high production value as almost every other shot looks like it’s promoting a tourist destination. There are moments where it feels like the story is contorting itself in order to be a vehicle for Serayah’s singing talents; which, to be fair, are considerable. Nonetheless, a lot of the tension in the plot hinges on characters not telling each other incredibly important details because of convoluted reasons. It’s a trope that feels a little bit tired. On top of that, the pacing drags until it remembers it has to have a dramatic resolution, which it awkwardly rushes, making the ending feel somewhat unfulfilling.

Ultimately, Ruth & Boaz feels like a romance film made by committee, a Hallmark film with added Bible references and RnB cameos. One could argue that it shines a spotlight on African-American communities in rural America, but the brisk run-time prevents it from revealing anything new, and the light touch characterisation means we don’t really get anything original.

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 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?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief