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
Culture
Film & TV
5 min read

The death of Hollywood

Out of the ashes, new stories will rise

Theodore is author of the historical fiction series The Wanderer Chronicles.

Studio executive's react.
Seth Rogan's The Studio, a Hollywood satire.
Apple TV.

There is no more obvious sign of the ailing of the Hollywood behemoth (if not to say, its actual death) than the utter failure of Disney’s latest live-action re-release of Snow White

According to Forbes, Disney’s total investment in the movie, including production and marketing, likely exceeded $350mn. To break even, it would have needed to take around $500mn gross at the box office, after distribution and movie theatre cuts. To date it has made just under $200million. 

If nothing else, that is a tremendous waste of money. But the essential problem seems to have been that the movie’s creators were trying to bend themselves (and the story) into pretzel-shaped contortions to satisfy the various demanding (and contradictory) ideological axioms of LalaLand. The result? Not only do they fail on their own terms: a movie about a young princess finding her inner girl power and leading an oppressed people to overthrow a tyrannical autocrat ends by setting up a new regime under one unchallengeable and all powerful ruler: a system of “Snow-White Supremacy”. It also fails on the archetypal axioms of story. There’s a reason why parents still read to their children the traditional version of Snow White, which scholars believe to be so long-living and so “true” that its roots seem traceable as far back as Ancient Greece. Modern storytellers mess with that long lineage of audience appeal at their peril; as no doubt several Disney executives have now found to their cost. 

Last month the veteran Hollywood screenwriter and novelist Andrew Klavan concluded, after watching the last annual offering of glamour-slick virtue signalling that is the Oscars, that Hollywood is indeed a dying beast. He argued that the collective movie-making culture has become so captive to a certain ideological mindset that it has prioritised that over the more basic and primary objective of telling stories. When ideology overrides the essence of storytelling - delivering stories reflective of life as it actually is and as we find it - then the art suffers and audiences instinctively turn away.  

Why? Because we all come to stories to find truth (even if it is dressed up in the “lie” of fiction). The problem with the ideological mindset approach to storytelling is not that it does not start with good intentions (let’s say a value like “compassion”); but that it drives towards and ends with outcomes very far from life as we know it to be. So, for example, compassion for allowing female-identifying men into women’s sport ends up with Olympic crowds applauding a man punching various women in the face to earn himself a gold medal. Or well-intentioned young people marching throughout the cities of Europe in support of terror groups who behead babies. There is a cognitive dissonance between the makers of movies imbibing and propagating this sort of mindset and their audience of millions. 

No wonder those audiences are tuning out. Because the central thing that people want from art are good stories. Good stories make us nod and say: yep, life is like that - however far-fetched the premise or the setting may be. Bad stories make us feel like someone has tried to sell us a lie. They are “phoney” - and at a gut level, we know it. 

So, if Hollywood’s time in the limelight (and the pay dirt) may be running out, where should we look for a new resurgence (dare we say, resurrection?) in the art of storytelling? 

“Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods.

It would be foolhardy to come down too hard on an answer to that question, since ultimately stories can and have come from anywhere. But if I had to lay down money on the kind of environment out of which any resurgence in the storytelling industry (whether of the moving image or the written word) will come, I would be betting on some sort of life-affirming, collaborative, creative network or community based around the foundational values of truth, goodness and beauty, and motivated by a shared desire to see the renewal and revitalisation of  Western culture everywhere.  

Such networks have been springing up with the ubiquity and rapidity of mushroom colonies all over the West, particularly in the US and across Europe. 

 Angel Studios has emerged as one of the more front-footed of these. This is a US-based media company that produces and distributes films and TV series with inspirational and faith-based themes: projects like The Chosen - the globe-conquering pay-it-forward re-telling of the Four Gospels - and Sound of Freedom, the latter grossing over $250million worldwide. (Disney take note.) 

While Angel’s content may have arisen out of niche audience demand (it was founded as a successor to the VidAngel app that sourced child- and faith-friendly content), other collaborative networks exist with a broader mission for cultural renewal. The Everything Network is one such example. A UK-based Christian network of leaders across multiple fields of society, it operates from the principle that, for centuries, society has benefitted from the way Christianity has contributed to the whole of life: from the art we create, to the laws we make, and the way we care for those in need. If God cares about everything, then the invitation persists for us to work towards the renewal of all things. 

This includes the stories we tell. Hence, under one aegis, authors, poets, or screenwriters are connected with financial backers, producers, directors, animators, marketeers and so on. Implicit within the network’s mission is a recognition that stories have the power not just to entertain, but to change the world. For good and for bad.  

Just look at the Bible. 

At a more modest level, creative networks are coming together all over the West: in churches, across the broader arts and entertainment landscape and so on, in part as support communities for people working in those industries, but also as incubators for collaborative output. Some are more ambitious than others. And many are proving the truth of the proverb: “Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods. 

So, if truth, beauty and goodness are the weapons on the battlefield of imagination, and the soul of the world is the prize, perhaps these emerging creative networks are the divisions, the battalions, the platoons deployed along the front line. Time will tell which are most effective. 

What is certain is that, long after Hollywood’s spell over us all is broken, humans are still going to want to hear good stories. Stories that tell us something meaningful and true about life as it appears before us.  

I’ll have my bucket of popcorn ready just in case.

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