Article
Belief
Culture
Film & TV
Identity
5 min read

Wednesday works wonders bringing the outsiders in

Tim Burton’s echoes of C.S. Lewis

Lauren Westwood works in faith engagement communications for The Salvation Army.

Wednesday Adams scowls while Enid smiles.
Wednesday and Enid.

There’s something delightfully ironic about the mainstream success of Wednesday – Netflix’s Addams Family spin-off directed by Tim Burton. With its whimsy gothic aesthetic, star-studded cast and viral TikTok dance to boot, the first season was a highly bingeable hit in 2022. This summer, the split-release of season two scored over 50 million streams in its first five days. But beyond its cult-like reception lies something deeper: a collective reckoning with identity, acceptance and the desire to belong. 

Jenna Ortega’s Wednesday Addams is an outsider among outsiders. Upon returning to Nevermore Academy – a supernatural boarding school meant to be a haven for ‘freaks, monsters and outcasts’ – she finds herself more alienated than ever. Don’t feel sorry for her: she’s difficult, destructive and I’m not sure I’d want to share a dorm with her (or her pet disembodied hand, Thing.) But that’s why we love her so much. 

Wednesday ‘taps into that sense of not quite fitting in that everyone has,’ praised Marina Hyde on her The Rest is Entertainment podcast. ‘We all feel like we’re the kind of excluded weird mad kid from Burbank, as he [Burton] was growing up.’ 

C.S. Lewis termed the phenomena of not quite fitting in as the ‘Inner Ring’ – the unwritten systems of belonging that permeate all areas of life, from early youth into old age. It can neither be fully defined nor totally avoided. Lewis suggests that all people, at some point or another, experience this ‘desire to be inside the local Ring and the terror of being left outside.’ Ultimately, he warns, this pursuit of surface-level or self-furthering belonging ‘will break your hearts unless you break it.’ 

Lewis, one of Christianity’s most profound cultural influencers, was stirring a deeper call among his fellows Christians: to remember that the gospel is not just good news for those sitting comfortably in the pews – it’s good news for those outside. It’s good news for those searching for belonging in a world that prizes conformity and feasts on exclusivity. 

Tim Burton’s genius lies in his ability to reach out, subverting the mainstream and dismantling the Inner Ring, seemingly with ease. Everyone’s an outsider, so no one is an outsider. As in Edward Scissorhands or Jack Skellington from The Nightmare before Christmas, Burton’s decision to not only tolerate but to celebrate the outcast bridges the gap between the socially excluded and socially accepted. 

The sense of belonging that Burton creates doesn’t feel twee, manufactured or forced. It isn’t the sort of embrace that comes under strait-laced conditions, either. He cultivates spaces where the strange, the sad and the misunderstood become protagonists, empowered to tell their own story. He boldly platforms that which is different, unwilling to conform or compromise. Even the visual language of his work is distinct and unashamed, and his trademark scribbled twists and turns that creep into set designs, costumes and title sequences. 

In Wednesday, this contrast is emphasised by a window that is half-spiderweb, half-kaleidoscope, dividing the room that Wednesday shares with Enid, the optimistic and bubbly roommate. They’re an extreme black-cat, golden-retriever pairing who have little in common, except for feeling that they don’t fit in. 

Their desire for belonging and acceptance looks different. Enid cares very much about how others view her, whereas Wednesday’s cold defiance masks her vulnerability to be seen, known and accepted. This symbolic shared space, and the friendship that is imposed upon Wednesday by Enid, signals a deeper truth: belonging is not found in sameness, but in recognising what connects us and how we can honour one another in spite and because of our differences. 

The subversive nature of Burton’s imagined universe holds a dim mirror to the liberating reality of God’s Kingdom.

While Burton elevates the outsider, his worlds often remain solitary and cut-off. But the Church, at its best, offers not just visibility but the embrace of fellowship. Jesus consistently chose people on the margins – lepers, tax collectors, women – and invite them into relationship. The gospel accounts for him taking less efficient travelling routes seemingly to encounter the lonely, the sick and the despised, to share news of their belonging to God, whose love for them was so strong that he would dwell not only among them, but within them through his Spirit. 

The culture of the early church was informed by Jesus’ example, and their meetings were a mosaic of cultural, ethnic and social diversity, brimming with unlikely partnerships and clashes of custom. Paul reaffirmed the concept that all are ‘one in Jesus Christ’ in his letter to the church in Galatia, declaring that ‘there is neither Jew nor Gentile, neither slave nor free, nor is there male and female.’ This is not a call to erasure, but to radical inclusion. Rather than everyone being an outsider, as in Burton’s world, everyone is an insider in the Kingdom of God. 

Perhaps it isn’t about whether Tim Burton or the Church has done more for outsiders, outliers and outcasts, but to invite personal challenge: Am I willing to get used to different? To disturb my norms, routines and expectations in the name of mutual inconvenience? To embrace a little mess and chaos for the sake of greater unity? 

The subversive nature of Burton’s imagined universe holds a dim mirror to the liberating reality of God’s Kingdom, where the last are first, the poor receive a rich inheritance, and the margins become the centre. Where Burton’s audience may find solace in shared strangeness, the gospel offers something greater: a home not built on similarities and commonalities, but on divine welcome and spacious grace. And an unlimited set of keys to welcome others to their room, too. 

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Identity
6 min read

Identity is more than mere branding, ask WH Smith

It's not just nostalgia that's being generated by the retailer's demise

Roger is a theologian and author with a particular interest in the relationship between faith and culture.

Cyclists and pedestrians pass in front of a WH Smith store front.

So, alas, no more WH Smith on the British High Street. Then, to add insult to injury, the chain of shops will be rebranded by the private equity firm, Modella Capital, as TG Jones. A move to ensure the stores retain “the same sense of family”. 

Really? 

I was surprised. Not by the news. We’ve seen so many once famous names disappear, another one is hardly noteworthy. But no, I was surprised by my reaction when I heard. 

I’m not quite sure what the emotion was. It nestled somewhere between 

“NO!” 

and, 

“They can’t be serious!” 

Somewhere between warm-hearted nostalgia and gob-smacked incredulity. 

I have loved Smith’s since forever. As a boy, in a small market town in Norfolk, the kiosk at our railway station was where I went to buy my Commando war story comics. As a teenager it was the music and video department I frequented. Then, newly married it was photo albums followed by all the school supplies of pencil cases and folders our growing family needed every August. Our memories exert a powerful influence on us. 

But the nostalgia goes deeper than that. It is a British institution. WH Smith and Sons, as I originally knew it, began life in 1792 in a news vending shop established by Henry and Anna Smith in Little Grosvenor Street in London’s Mayfair. 

Their grandson, William Henry (of the WH) joined the firm as a partner in 1846 and was responsible for their expansion through railway stations. Taking advantage of the boom in rail travel their first news stand was opened at Euston Station in 1848 by securing exclusive rights to operate with North Western Railways. This was swiftly followed with a similar deal with Midland Railways. 

Across the years innovative entrepreneurship has been part of who they are. They pioneered wholesale warehouse distribution through their sites in Birmingham, Manchester, Liverpool and Dublin. 

Then, along the way, in 1966 they introduced a 9-digit code to improve their book reference system. Eight years later their Standard Book Numbering (SBN) system had been universally adopted as the internationally recognised ISBN classification on the back cover of every published book. 

Their company history also includes novel initiatives like a circulating library, a travel agency, the DIY chain Do It All, a 10-year ownership of Waterstones, satellite TV with their own sports channel in the mid-1980s, and more recently, in-store post offices and the online personalised greeting card brand, Funky Pigeon. 

Smiths is a company that is deeply embedded in the life of our country. It’s deeply embedded in my life story too. Of course I’m going to feel nostalgic about it. But, do you know what, I can’t remember the last time I went into one of their iconic shops and actually bought something! 

And that’s probably it, at least in retail. Any nostalgia on my part is, at most, only of the wistful variety. 

As important as our personal history and heritage are in helping us understand ourselves, life is provisional, and our identity can change. 

While the High Street shops do remain a going concern, it is their travel hub network in airports across the world that make the serious money and will retain the WH Smith branding. Hence, the change of name to TG Jones and the source of my “gob-smacked incredulity”. 

Now it is easy to understand how a move from WH Smith to TG Jones makes a lot of sense. Modella Capital were swift to affirm that it is “business as usual”. All the stores will remain open, doing what they do now, with all the staff retained. Two initials and one of the most common surnames is replaced by two initials and one of the most common surnames. 

Now the juxtaposition of Smith and Jones is very tempting in its offer to reference specific 1970s or 1980s TV shows. From a marketing perspective it is so cheesy, at least to anyone over 60. But to put that aside: what is in a name? 

WH Smith is a 233-year-old company and remained in the hands of the family until 1972. It has a heritage that has real substance behind it. It is the genuine fruit of all that has gone before. TG Jones is a fiction. A necessary invention to fill the gap, to provide a new name in place of an original that has migrated elsewhere. As Charlotte Black, chief strategy officer at Saffron Brand Consultants observed: 

“It feels incredibly close, a poor mirror of WH Smith and not necessarily very well thought through … I would say it feels hasty – an ‘insert here’ strategy – and a bit of a missed opportunity.” 

Ultimately, it’s about identity. Superficially it appears that a genuine history is being supplanted by pure fabrication. Any “sense of family” in TG Jones is vacuous because TG Jones never existed. There is no back story. 

WH Smith, on the other hand, does have a back story. Yet, having been a company run by shareholders since shortly after the second world war, how real is the “sense of family” there either? This is not the proverbial ‘mom and pop’ store. It is actually a corporate leviathan. There might be a sense of rootedness in the name, but a “sense of family” disappeared a long while ago. 

Now, with the name gone, the High Street shops have even lost that sense of rootedness, however tentative it had become. Where does that leave their identity? I’m sure the branding consultants and marketing departments have been all over this. However, identity is not established just by saying that something is so. 

Thinking about Smith becoming Jones then sent me down a rabbit hole of thoughts. So, bear with me here. 

We all know about identity because we all have one. 

At any given moment in time we are the product of a complex interplay of things. From our families and where we grew up, to the choices we’ve made and those that are foist upon us. The experiences we’ve had shape us. They make us into the people we are and help define our identity. 

Yet nothing is set in stone. There is something intrinsic to life that is dynamic, ever-changing and open to all kinds of possibilities. It is dynamic and multi-dimensional and alive to endless possibilities. 

In this sense, life is not deterministic, and our identity is not fixed. How we see ourselves and how others see us can change. As important as our personal history and heritage are in helping us understand ourselves, life is provisional, and our identity can change. 

That change can be evolutionary or revolutionary, it can come from inside ourselves, or result from our responses to what comes at us from outside. Life is a constant process of becoming who we are. Our choices matter. They have consequences. Nothing stands still. 

The possibility of turning life around, the opportunity of making fresh starts and hopeful visions for a better future have proven to be the bedrock of human resilience. The essential ingredients to ‘pick yourself up, dust yourself off, and start all over again’, to quote the famous 1930s standard. They’re also foundational insights that underpinned what Jesus stood for and taught. Proven across the range of human life, activity and ingenuity 

But back to TG Jones, I think I’m with Charlotte Black, the renaming is hasty, ill-thought through and a missed opportunity. Maybe the name will go the same way as Royal Mail’s abortive makeover as ‘Consignia’ in 2002. Identity is more than branding; we will know it by its fruit. 

In the meantime, when the new regime has established itself, I may swing by to see what they’ve done with the old place. 

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Since March 2023, our readers have enjoyed over 1,000 articles. All for free. This is made possible through the generosity of our amazing community of supporters.
If you’re enjoying 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
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