Column
Culture
Football
Humility
Sport
4 min read

We're pretty useless really

We all fail. Not just Southgate, Biden and Sunak.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A dejected looking football manager ponders his feet while standing beside a pitch.
Southgate contemplates.

The Book of Heroic Failures, published by Stephen Pile in 1979, records a story of the Welsh Dean of St Asaph, Daniel Price, in the late 17th century. Contemporary biographer John Aubrey noted that Price was a “mighty Pontificall proud man.” 

So proud that he declined to parade on foot outside his cathedral, but rather rode a mare in full vestments, reading from the Book of Common Prayer. Aubrey with precise economy describes what happened next: “A stallion happened to break loose, and smelled the mare, and ran and leapt her, and held the reverend dean all the time so hard in his embraces, that he could not get off till the horse had done his business.” 

Unsurprisingly, Aubrey records that the good Dean “would never ride in procession afterwards.” He had clearly learned a lesson in humility. And one that would not have been taught had his ride passed with pompous dignity. 

A question arises, pertinent for events today, as to whether we learn more from the indignity of failure than from the fruits of success. I’d like to suggest that we do, especially about the nature of our human condition. 

Humans are pretty useless really and our default position is error and falling short.

No one doubts that had England won the European Football Championship it would have been the crowning adornment to manager Gareth Southgate’s career. England failed to do that, though we failed less than any other team (Spain doesn’t count because they didn’t fail at all). Now that Southgate has resigned and has time to reflect at leisure, perhaps he will learn at least as much and possibly very much more about himself than if he had raised the trophy. 

US president Joe Biden would have had an altogether greater reckoning to face if he lost the election to Donald Trump than if he won it. Now he’s quit the race, arguably he has much more to learn from reflecting on his life and achievements. The Conservative Party has many lessons to learn about its 14 years in power from its abject defeat at the polls. Indeed, many parliamentary Tories believe that defeat was a requisite event for its reformation to proceed. 

None of this is to suggest that failure of itself is a virtue. Nor is it just a morality tale that enjoins us to meet triumph and disaster and “treat those two impostors just the same”. A failed marriage, or failing health, or moral failures of a wider variety, cause destructive pain and trauma. 

But it is to acknowledge that failure is part of the natural human condition. We’re in the territory of a flawed, fallen humanity here, one that theologians call postlapsarian, that is fallen from an ideal of perfection as dramatically portrayed in the Garden of Eden. Humans are pretty useless really and our default position is error and falling short. 

Loss of innocence, injustice and failure meet in unholy alliance at Golgotha.

This isn’t, or should not be, depressing. At least not for people of faith, because it reflects the nature of humanity. Failure, if you will, is a gift of God in a fallen creation. We learn more from our failures than our successes, which is either a biological determinism in evolution or a means through which we strive for a new perfection. There’s a version of that they may be reciting to the England football team right now. 

Christian faith sometimes concentrates too often on triumph over death and the idea of a heavenly kingdom where all is well, at the expense of recognising the reality of our world in which most things are very far indeed from well.  

We might recognise it in a congregational tendency to skip over Good Friday to Easter morning. If we do so, we neglect to notice what an abject failure the insurgent Jesus movement was on its short journey of break-up from Jerusalem to Calvary. It, literally, dies. 

Yes, we know what happens next. Or do we? The first witnesses to it certainly struggle to explain it in a manner that we might comprehend. But, in any event, loss of innocence, injustice and failure meet in unholy alliance at Golgotha. 

The theologian John Macquarrie asks what happens if we feel compelled to draw the bottom line under the cross: “Would that destroy the whole fabric of faith in Christ? I do not think so, for the two great distinctive Christian affirmations would remain untouched – God is love, and God is revealed in Jesus Christ. These two affirmations would stand even if there were no mysteries beyond Calvary.” 

No, our story doesn’t end there. But we can acknowledge that this is where we live in this world, at the foot of that cross. As the 17th-century French philosopher Blaise Pascal put it, the Christ “will be in agony until the end of the world.” 

Let’s not be too miserable, because we do have the “mysteries beyond Calvary”. And let’s celebrate our earthly successes. But let’s also learn to embrace our failures and receive them as a gift, from football to politics. 

Article
Character
Culture
Film & TV
Purpose
6 min read

Tom Cruise’s Ethan Hunt offers a blueprint for life

The latest in the Mission:Impossible franchise dares to ask some surprisingly existential questions

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

Tom Cruise runs.
What happens we he stops running?

When it comes to action movies, most of us aren’t looking for philosophical musings as much as a dose of adrenaline-fuelled escapist entertainment. Few franchises understand this better than  Mission: Impossible, which has consistently delivered on that front—train wrecks, car chases, gun battles, bomb blasts, submarine fights, knife fights, fist fights, dog fights, and, of course, running. Lots of running. 

The latest blockbuster in the franchise, Mission: Impossible – The Final Reckoning — which Tom Cruise has suggested may be his last outing as Ethan Hunt — is no exception. But alongside its brilliantly choreographed action scenes, the film also dares to ask some surprisingly existential questions. 

Who wants to live forever? 

Tom Cruise has achieved legendary status not just for his acting, but for his relentless dedication to performing the most technically demanding stunts in cinema history. Over the years, he’s scaled the Burj Khalifa, clung to the side of a plane during take-off, parachuted from 25,000 feet, flown helicopters through perilous terrain, and held his breath underwater for more than six minutes—without a stunt double in sight. 

Now 62, Cruise would be forgiven for taking it easier. Instead, after performing in what one director has called the most ambitious stunt in cinematic history: launching a motorcycle off a cliff, a mid-air dismount, followed by a parachute drop in the previous movie, Cruise has upped the ante again by engaging in an aerial battle atop a biplane flying at 10,000 feet. This involved climbing onto the wing of a moving aircraft travelling at 145 mph enduring hurricane-force winds, while the pilot performed manoeuvres designed to dislodge him. 

Cruise has become something of a cultural symbol of immortality. His character, Ethan Hunt, continually evades death, rarely stopping to mourn the losses of others—even those closest to him. But this film feels different. It asks how long someone—real or fictional—can continue to outrun death. 

Watching Hunt - and Cruise - cheat death time and again may be entertaining, but it also taps into something deeper. A recent COMRES survey revealed that the top four human fears are all death-related: dying in pain (83 per cent), dying alone (67 per cent), being told they’re dying (62 per cent), and dying in hospital (59 per cent). Final Reckoning doesn't just distract us from these fears—it subtly forces us to confront them. No matter how fast, fit, or famous we are, none of us gets out alive. 

What is life really about? 

Because the line between Ethan Hunt and Tom Cruise is now so thin, Dead Reckoning plays almost like a eulogy to both. The film opens with a message of thanks from the President of the United States: 

“Good evening, Ethan. This is your President. Since you won't reply to anyone else, I thought I'd reach out directly. First, I want to thank you for a lifetime of devoted and unrelenting service… Every risk you've taken, every comrade you've lost, every personal sacrifice you’ve made, has brought this world another sunrise.” 

The sentiment feels a little self-indulgent. The camera rarely leaves Cruise, and nearly everything and everyone else feels like a garnish to his character. He gets the best lines, the best cars, the best love interests, the best scenes. At times, Dead Reckoning feels a little like Mamma Mia! — a loose thread of a plot connecting a series of spectacular set-pieces rather than musical numbers. 

Still, as the franchise nears its end, it’s bittersweet to say goodbye to a character who’s become part of global popular culture. And it prompts a deeper question: If we can’t look back on our lives and say we gave the world another sunrise, what does make a life well-lived—for those of us who don’t defuse nuclear bombs before breakfast? What have we personally sacrificed for the greater good?  

Who Is expendable? 

With a body count hovering around 500, the Mission:Impossible series has never shied away from collateral damage. Ethan Hunt has always been portrayed as someone willing to expense the few to save the many. 

But The Final Reckoning confronts that idea. It reintroduces William Donloe, a minor character from the original 1996 film, who was the CIA analyst that got reassigned to a remote outpost in the Bering Sea after Hunt famously infiltrated his high-security vault - in that iconic scene where Cruise is suspended from the ceiling, inches above a pressure-sensitive floor, and drops his commando knife, point-first, into the desk. Now, decades later, Hunt seeks him out to apologise. 

Surprisingly, Donloe responds with grace. He says the reassignment was the best thing that ever happened to him: it led him to meet the love of his life. Though he had lost everything in a house fire caused by Hunt’s team, he had managed to salvage the commando knife from the original vault heist and gives it back to Hunt as a token of his appreciation. 

This could have been a moment of genuine reflection for Hunt—a chance to reckon with the unintended consequences of his actions. Instead, it serves to reinforce the idea that even Hunt’s mistakes are somehow for the best. Hunt is presented as almost messianic—an infallible saviour whose instincts are always right. 

But this portrayal contrasts sharply with the biblical Messiah, who taught that no one is expendable. In Jesus’ teaching, every life matters, enemies are to be loved, and compassion is both the means and the end. The ends never justify the means. Love is the mission. 

Who Is my neighbour? 

One of the deeper themes of the film is the tension between loyalty to those closest to us and responsibility to the wider world. Hunt’s enemies consistently try to exploit his love for friends and family, exposing it as a vulnerability. On a number of occasions, the villains kidnap or threaten someone close to Hunt in order to manipulate him. He is faced with the dilemma - to save the one he loves, or to save everyone else? 

At one point, a character offers this reflection: 

“We all share the same fate—the same future. The sum of our infinite choices. One such future is built on kindness, trust, and mutual understanding, should we choose to accept it. Driving without question toward a light we cannot see. Not just for those we hold close, but for those we’ll never meet.” 

It’s a powerful line—one that challenges narrow tribalism in favour of a universal compassion. In recent years, some have tried to co-opt Christian ethics in support of nationalism, prioritising loyalty to family, faith, and country above all else. But this film’s ethos cuts across that narrative. 

In an age of toxic patriotism and growing division, it’s striking that an international superspy like Ethan Hunt seems to offer a profoundly global vision: act not only for those we love, but for the good of the whole world—even at great personal cost. 

Hunt’s worldview echoes a deeply biblical theology: every person has worth, and we’re called to love our neighbour—including those who don’t speak our language or share our culture. The franchise promotes a genuine Christian ethic of sacrificial love. And why not? At the heart of Christianity is the story of a God who sent His Son on a seemingly impossible mission to save the world. 

It’s hard to miss the moral and theological framework that underpins Final Reckoning. It is, perhaps, this foundation that makes Ethan Hunt’s character not only thrilling but deeply human. Amid the explosions, stunts, and spectacle, Mission: Impossible makes us think, and subtly reminds us that the greatest mission of all might be love. 

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