Snippet
America
Change
Politics
3 min read

The utter miracle of disliking an election result

Voting is a profound act of love, argues Luke Bretherton, Regius Professor of Moral and Pastoral Theology at Oxford University.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

Crowd barrier surround empty space at a night time political rally.
After the Harris rally at Georgetown University.
X.

Well, there we have it. It’s done. Donald Trump has won. History has been made.  

Today, and for the days to come, there will be celebrations on the streets. There will be weeping on them, too. And that is somewhat of a miracle.  

Earlier in the year, I interviewed a political theologian, Professor Luke Bretherton. It was, and still is, the most enlightening conversation about politics I have ever had. It was for an episode of our Re-enchanting podcast, which is apt, because that’s exactly what it did for me. Luke was able to scoop me up out of political disenchantment and remind me just how miraculous of a thing true democracy is – even if, no, especially if, it doesn’t go the way we hoped.  

What should you do if you’re feeling bereft about the result of this almighty election?  

Well, I should imagine there are a number of things – but one of them could be to acknowledge the imperfect, rare, paradoxical, beauty of such a feeling. 

I’ll let Luke explain a little better, shall I? Here’s a snippet from the Re-Enchanting episode (recorded months before this American election), you can find the full episode here.  

But, for now, if you should need it, allow Luke’s wise perspective to be a balm for your sad soul.   

Politics is really the name for the formation of a common life. We can't survive, let alone, thrive as humans without others, and so, to have any kind of life - let alone a flourishing life – you’ve got to form a common life with others. As soon as you do that, as soon as you try to navigate and negotiate some form of common life, you’re going to come up against people that you dislike and disagree with. 

At that point, you have a choice of one of four things: you can either kill them, which of course, appears to be the solution throughout a lot of history. You can make life so difficult that you cause them to flee, you can create a system to coerce them – to get them to do what you want without having to listen to them, without having to negotiate a common life with them. Or you can do politics; you can negotiate some form of common life without killing, coercing or causing to flee. And those really are the only options. We make it very complicated, but that’s really what’s going on.  

Are you going to form a common life with people? Or are you going to kill them, coerce them, or cause them to flee? I think Christians should be pretty invested, both for theological reasons and for practical reasons, in the option of doing politics. Part of that politics is what we might call statecraft – laws, bureaucracies, parliaments – but politics is wider, simpler, and more important than that. It’s a social practice through which we form a common life.    

And our commonalities may not outweigh our differences… we can have very real differences. As we know from a Christmas dinner, or a thanksgiving meal, the uncle who drives you bonkers is also the person who passes you the Brussels sprouts. So, it’s learning that we can hold tension, that life is complex, that people have multiple loyalties and that politics is the negotiation in the midst of multiple loyalties, ambiguities and tensions. Otherwise, politics dehumanises others and ourselves.  

And so, the act of voting is, in itself, an act of loving your neighbour. Because, if you’ve voted, you’re not looking to bomb, torture, or kill in order to get your way. 

 And this is beautiful.  

It’s an extraordinary paradox, it’s called the loyal opposition: if you lose the election, you’re prepared to stand on the opposite benches. You don’t take to the hills because you don’t like the results.  

It’s the water we swim in, and so we don’t see the miracle of that, the miracle of agitational solidarity. The notion that I can be utterly opposed to your view on tax deferential policies but I won’t kill you.  

That’s a rare thing in human history.  

Let’s just take a moment to realise the miracle of that.  

Review
Culture
Film & TV
Freedom of Belief
Politics
4 min read

Anna Politkovskaya took on the Kremlin and she paid the ultimate price

The Russian journalist who became a martyr for truth

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A journalist wearing a body armour and a helmet looks defiant
Maxine Peak plays Anna.
Rolling Pictures

While truth recedes as a global public good, a war on journalists is taking shape. In 2024, the Committee to Protect Journalists recorded the highest number of journalists killed since collecting data thirty years ago. A large number of these were killed in Gaza, but there were deaths elsewhere: in Mexico, Syrian, Pakistan, Haiti, Myanmar.  Many more than these at least 124 journalists were physically threatened and abused online; an unknown number have been imprisoned and abused by state authorities, shadowy militias or criminal gangs. 

The illiberal tide is more powerful than the flow of liberal ideas today in the unregulated online market of opinion. A groundswell of distrust in so-called mainstream media has been effortlessly generated by sources with no obligations to impartiality and fewer professional standards round fact checking and evidence gathering. While every news source needs to be assessed for accuracy and fairness, the labelling of journalists as ‘enemies of the people’ by President Trump in his first term strayed into language used by the world’s despots. Territory occupied for many years by Vladimir Putin’s Russia. 

The 2025 film Words of War tells the story of Anna Politkovskaya, reporter for the Russian independent newspaper Novaya Gazeta who rose to fame, and therefore to the attention of the Kremlin, through unvarnished despatches from the first Chechen war that uncovered terrible war crimes. Moscow learned its lesson for the second war in Chechnya by declaring the whole region off limits to reporters. For Politkovskaya, this provided an extra incentive to be there, returning to the country over forty times to document ever more awful crimes of disappearance, rape, and torture. 

‘I witness very grave events and no-one else is reporting on them. I can’t not write about it’, Politkovskaya told the BBC’s Sarah Rainsford when they met. The meeting ended with some blunt Slavic advice: instead of interviewing a journalist about the war in Chechnya, the interviewer should be going there herself.   

Words of War has an unreal quality to it. The actors are English, but the scenes are entirely Russian. It is a reminder of Armando Iannucci’s dark comedy The Death of Stalin and even shares an actor in Jason Isaacs, who swaps General Zhukov’s blunt Yorkshire accent for the more cultured tones of Politkovskaya’s anxious husband, Sasha.  

Politkovskaya was a force of nature, and a devout Christian. She knew the kind of people she was messing with and what they were capable of, but she carried on the same, driven by an implacable will to truth. On flying to cover the appalling school siege at Beslan in 2004 – a scene the film begins with - she became violently ill, almost certainly a targeted poisoning like Alexei Navalny suffered on a plane over Siberia. 

I get intimidating calls, people hovering in my hallway, she observed. There’ve been so many threats, there was a time when my editors decided my life really was in danger.  But I’m used to it.  If the FSB is so opposed to me, it only proves that what I’m doing is effective. 

On October 7, 2006, Anna Politkovskaya was shot dead as she entered her block of flats with a handful of groceries. It was Vladimir Putin’s birthday. Five men were eventually found guilty of organising and carrying out the murder, but the person who ordered the killing was never found out. Speculation round how high the order came from is, in a way, superfluous: this is the nature of Russia’s state in the twenty first century.     

Elena Kostyuchenko is a millennial writer who features in the film as a young Novaya Gazeta intern and was inspired by her contact with Politkovskaya, ensuring a legacy in a younger generation: 

She was the first person I saw when I came to the Novaya Gazeta editorial offices. Tall, radiant, with silver-white hair, flying down the hall. I didn’t recognise her. I was just struck by her beauty. 

Stalin’s alleged mantra: no person, no problem, remains barely deniable Kremlin policy. The late politicians Boris Nemtsov and Alexei Navalny are simply the highest profile of a large cohort of individuals barely known in the west who have opposed Putin with stunning levels of bravery. Caricaturing Russians as corrupt, rapacious and violent – as well as being a lazy trope - is to abuse the names of an untold number who retain their dignity, integrity and agency. 

New histories are written in nations where regimes fall, but whether they tell a truthful story about the past depends on the environment the new authorities allow. The human rights group Memorial began this work in the early post-Soviet era, only to be shut down by Putin’s police officers. Words of War should have been made in Russia by Russians. One day maybe it will be, and Anna Politkovskaya will be seen across Russia for what she is: a martyr for truth.  And not an enemy of the people. 

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