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
Music
5 min read

A complete unknown: the enigma of Bob Dylan

Chalamet commands but this biopic denies the audience its aha moment.

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

A hunched man wearing dark glasses and a dark suit, walks down a New York Street at night, with his hands in his pockets.
Searchlight Pictures.

Crafting a biopic about Bob Dylan is no easy task. Known for his reclusive nature, Dylan has long avoided public introspection, rarely granting interviews and keeping a tight grip on his privacy. Enter A Complete Unknown, a film whose title is cleverly lifted from the iconic lyric from Dylan’s legendary song, 'Like a Rolling Stone'. For many, Dylan remains a complete unknown beyond his music. This film takes on the daunting challenge of unravelling, or at least presenting, Dylan’s story for a new generation.  

For Generation Z, Dylan’s genius is perhaps a distant echo, so casting Timothée Chalamet—a Gen Z cultural icon—as the main role is a masterstroke. Known for his standout roles in Dune and Wonka, Chalamet commands the attention of younger audiences, making Dylan’s story accessible and intriguing to a demographic otherwise unfamiliar with the folk legend. 

Chalamet’s dedication to the role is impressive. During the extended production, delayed by COVID, he taught himself to play the guitar, harmonica, and sing live. His performance is more than an imitation - it’s a striking incarnation of Dylan’s enigmatic persona. Through Chalamet, the audience is transported to a pivotal chapter of Dylan’s life, a time that would see a seismic shift in music history.

From folk icon to electric rebel 

This transformative moment in Dylan’s career is drawn from the book Bob Dylan Goes Electric. Much like Titanic or Finding Nemo where the climax is inevitable from the outset, the audience is well aware of what is coming: Dylan’s controversial decision to “go electric.” 

We begin by meeting Dylan as a young folk singer, heavily influenced by legends like Woody Guthrie and Pete Seeger. Arriving in New York as an ambitious teenager, he’s welcomed and mentored by the folk music community. These relationships form the foundation of his early career, but they also set the stage for heartbreak. 

The climax unfolds at the Newport Folk Festival, where Dylan debuts an electric set, shattering the expectations of his folk audience. Fans and mentors alike react with outrage—booing, throwing objects, and accusing Dylan of betraying the authenticity of true folk music. By the film’s end, Dylan, despite his eventual electrifying musical success, is no more popular – he has burned nearly every bridge, leaving a trail of fractured relationships. 

True to its title, A Complete Unknown offers no answers. Dylan’s motives remain elusive, and the audience is left with more questions than insights. It’s a daring narrative choice—presenting a guarded character who remains enigmatic to the end. There’s no traditional character arc, no emotional revelation, no intimate a-ha moment. The film respects Dylan’s mystique but denies the audience the catharsis they might expect from a biopic. 
Other biopic producers seem to be following suit.  In efforts not to be formulaic they are choosing a more lackadaisical approach to audience expectations.  In the upcoming Better Man which retells Robbie William’s life story, the singer is presented as a CGI ape. Pharell Williams’ life story is being retold through LEGO. If James Mangold, the director, who also co-wrote the screenplay with Jay Cocks was deliberately trying to subvert the genre, it seems he may have succeeded. 

From musical genius to mass appeal 

Despite its underwhelming emotional denouement, the film does leave viewers marveling at Dylan’s genius. By the age of 24, he had already written and performed some of the most iconic songs of the twentieth century including 'Blowin’ in the Wind' (1962), 'The Times They Are A-Changin’ (1964) and 'A Hard Rain’s A-Gonna Fall' (1962). Chalamet’s performance breathes life into Dylan’s music, and it’s nearly impossible to leave the theatre without humming a familiar tune. 

Around that time Dylan was also involved in the civil rights movement. He played at the historic March on Washington for Jobs and Freedom on August 28th 1963, where Martin Luther King Jr. delivered his iconic “I Have a Dream” speech. He performed at the huge rally on the National Mall between the Washington Monument and the Lincoln Memorial and his presence there alongside other prominent figures helped inspire more musicians and artists to join the struggle for racial equality. But this vital contribution is given only a few seconds of screen time and Dylan shows no other interest in justice or equality in the film. He only interacts minimally with black characters – once to mock a black girlfriend and the other to humiliate a black musician. No explanation is given.  

Dylan’s work undeniably speaks to the human experience, particularly through its reflections on social change, struggle, and hope, yet his actions and interactions seem to conflict with that message. The film therefore creates a dissonance that’s difficult to reconcile. It raises the question of whether we can, or should, separate the artist from the art—or if, in doing so, we undermine the very message they champion through their work. 

From faith to legacy 

The biopic story predates two significant conversions—Dylan’s eventual embrace of Christianity and Johnny Cash’s spiritual awakening. Both men would go on to explore faith in profound ways that would intertwine with one another, influencing both their lives and their music. Dylan’s conversion was famously sparked by an audience member throwing a crucifix onto the stage—a moment not yet reached in this film’s timeline.  Johnny Cash’s role in Dylan’s life is mentioned but not unpacked.  These threads add an intriguing layer of foreshadowing, leaving room for reflection on how faith would later influence their lives. A fascinating follow up would be to explore this relationship – for now the film only hints that perhaps the loneliness and longing for fulfilment behind the success would spark not only their friendship but also a transformative faith.  

Leaving the cinema, I found myself caught between admiration and frustration. Dylan’s genius is undeniable—his songs remain timeless, his influence immeasurable. Yet, his emotional distance and self-absorption left me unsettled.  Perhaps that’s the point. Genius, as we often discover, does not always equate to warmth or relatability. Dylan’s musical brilliance is his gift, but his guarded nature remains his curse. His songs preach peace, but he was a man in conflict with himself and with others. In the end, Dylan is presented as a complete unknown, a man who defies understanding, a riddle that continues to captivate and confound, an enigma in need of some salvation. 

 

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