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Mental Health
Podcasts
4 min read

What all those BetterHelp ads say about ourselves

Podcasting and therapy alike scratch our itch to be inquisitive about things, even our own inner worlds.

Jamie is Vicar of St Michael's Chester Square, London.

A podcaster speaks into a mic before a screen.
Soundtrap on Unsplash.

There's one dominion Amazon hasn't conquered. Jeff Bezos famously chose his company's name, in part, because it's the largest river in the world and he wanted to create the world's largest bookstore. And Amazon has flooded the market. But as the world of podcasting is taking over our commutes and leisure time, Amazon isn't taking it over. That top spot belongs to BetterHelp. 

Now that I've mentioned it, you probably know what I'm referring to: the ubiquitous ads offering online therapy, often reassuringly read by the podcast hosts themselves. Although Amazon is the second largest ad buyer on podcasts, BetterHelp spends more. A lot more. In the US, BetterHelp spent $22million in the second quarter of this year, followed by Amazon with $13million. . BetterHelp has pretty much been the top spender on podcasts Clearly, BetterHelp thinks the demand for therapy is right up there with the convenience of getting stuff delivered to your door. 

The message of online therapy, and the medium of podcasts makes for a neat match. It seems our wants and needs are more and more solo endeavours. Our desire for entertainment and help are becoming something we access alone, behind headphones and closed doors.  

Overhearing people talking about their therapist in a metropolitan café is now as as common as the extra-hot flat whites themselves.

I was stunned when I heard recently that Saturday Night Live celebrated fifty years on TV. It was a reminder of an age when families and friends would diarise prime-time weekend entertainment together in front of the glow of the screen. But common experiences are diminishing. Harvard fellow Flynn Coleman highlights that the third spaces  where we have customarily congregated, found community, and ourselves, are vanishing.   

She is, of course, right. We are just beginning to scratch the surface of the damage our atomised online worlds have created. But where the CDC health report last year tragically detailed the harm social media causes teenage girls, the online space is not without hope. Krish Kandiah writes, 'Instead of demonising new technology as the problem, perhaps we need to find ways to turn it into the solution.'The online world isn't going away, so it must be at least part of the solution. Teletherapy is now available on the NHS, and while there are questions over the affordability and availability of online mental health care, and I cannot vouch for BetterHelp, making therapy more accessible by taking it online plays an important part in winning the battle of declining mental health. 

Far from an echo chamber, an online therapist can challenge presumptions at right angles and enable clients to access worlds they previously only dreamed of. And, any good therapist wouldn't encourage you to isolate yourself. We still need community. 

Therapy isn't as much a solo endeavour as we might first think. Of course, the therapeutic relationship itself is between two people, however objective one party might be. And just as the old adage goes, 'a problem shared is a problem halved', overhearing people talking about their therapist in a metropolitan café is now as as common as the extra-hot flat whites themselves.  Therapy is losing its stigma, and the benefits of it are shared just as we want to share a podcast that's stimulated or amused us.

That elusive arrival at contentment, of happiness, of satisfaction is quite the claim for an online service provider to make. 

Some things are sacred, though. James Marriott recently argued in The Times that the burden on those in the public spotlight to overshare isn't always helpful. How, where and with whom we share our inner thoughts matters. The Christian tradition sees that growth happens through relationship, rather than through broadcasting. Spanish mystic St Teresa of Avila wrote almost half a millennia ago about a journey inward, inside of ourselves to a space where only God dwells, if we choose to let him enter. On that journey, she wrote ‘It is a great advantage for us to be able to consult someone who knows us, so that we may learn to know ourselves.’  

On that journey of self-knowledge, the online world can enhance our lives, but not replace it. Just as The Rest is History podcast can give you details about ‘greatest monkeys' that your friend can't, specialist help from an online therapist will help you in ways friends won't. But BetterHelp wants to be your friend. The main heading on their website mimics what we've probably all heard from someone we know: 'You deserve to be happy'. They've learnt from the Steve Jobs school of marketing: don't sell the product or service; sell how it will make them feel. That elusive arrival at contentment, of happiness, of satisfaction is quite the claim for an online service provider to make. 

Podcasting and therapy alike scratch our itch to be inquisitive about things, even our own inner worlds. Where podcasting has challenged the old powers that sought to control the flow of information, we also do well to listen to external expert help. In this age, the online stream can flow information to us which, like the Amazon, might overwhelm us. It’s worth us asking: is there an external source of even better help available? One that will overwhelm us too – but instead overwhelm with the love we crave in our deepest selves? 

Review
Culture
Film & TV
Mental Health
5 min read

The C-list villains reviving Marvel's Cinematic Universe

A thunderbolt of sincerity shows the franchise can still thrill.

Giles is a writer and creative who hosts the God in Film podcast.

Four characters from a film loop warily to the side.
Anticipating the reviews.
Marvel Studios.

This article will contain spoilers for Thunderbolts* 

It’s not unreasonable to say that fan expectations for the Thunderbolts* was tepid at best.  Even the most diehard of them had to admit that the output for phase five of the Marvel Cinematic Universe has been a mixed bag. Guardians of the Galaxy Vol. 3 was deeply heartfelt, the Marvels was an enjoyable watch, but Antman and the Wasp: Quantumania definitely felt like a misstep, and the last Captain America: Brave New World certainly didn’t feel like it had exploited all the opportunities available. So, when Thunderbolts* arrived to round off this phase, featuring a team comprised of C-list villains, it was hard to generate a lot of enthusiasm. Thankfully, this film showed that Marvel still has what it takes to thrill and inspire us in equal measure. 

Loosely inspired by a group created from the comics, the Thunderbolts were a team of villains masquerading as heroes who in some cases, ended up genuinely reforming. If that premise sounds familiar, that’s because it’s essentially the idea behind Suicide Squad, (a film so bad that D.C. had another go at making a Suicide Squad film and we the audience, were more than happy to just let them).  

The original Avenger line up, whilst compelling, always had some distance between themselves and the core audience. A super soldier, a billionaire genius, a rage monster, a literal Norse god and a super spy carried the bulk of the story. That level of brilliance in a set of characters can be inspiring but also alienating. How for example, can a person relate to Steve Rogers? A character whose main defining trait is to always make the right moral choices and be universally respected for it? 

The Thunderbolt team is not so respectable. U.S. Agent, (Wyatt Russell) the Red Guardian (David Harbour) Bucky Barnes, (Sebastian Stan) and Ghost (Hannah John-Kamen) have all at some point been trained assassins. The film goes to great lengths to show all of these characters being broken in some way or other. None more so than the character of Yelena. 

Whilst this film is definitely an ensemble picture, they make no qualms about putting Florence Pugh‘s Yelena Belova front and centre of the story. Pugh’s star power showed that it could hold up alongside Marvel veterans like Scarlett Johansson and Jeremy Renner, and it’s put to good use here. The film opens with Yelena having something of an existential crisis. “There is something wrong with me” her internal monologue says; “An emptiness. I’m just…drifting. And I don’t have purpose.” Granted having a job where most of the individuals you meet are people you are either going to kill or incapacitate would indeed make loneliness an occupational hazard. But despite the fantastical circumstances, many viewers will be able to relate to the feelings presented.  

It's this awareness of her own struggles then, that perhaps makes Yelena best placed to help ‘Bob’, an affable, self-deprecating young man. Bob (played pitch perfect by Lewis Pullman, son of the great Bill Pullman) is given god-like powers by Julie Dreyfuss’s Valentina Allegra de Fontaine, in the hopes of making him a protector for the earth against any inter-galactic threats. With his new powers, Bob is virtually unstoppable. There’s just one problem; Bob clearly suffers from some type of crippling depression, which when amped up with super-powers makes him ‘The Void.’ His appearance; a black outline sucking in all detail save for two pin pricks of light where his eyes should be, combined with the ability to effortlessly turn people into black scorch marks, is the stuff of nightmares. Move over Churchill’s ‘black dog’, we now have a new metaphor for depression and its all-consuming power.  

Battling depression is an area where the church is still lagging behind the world at large. “A depressed Christian has a double burden” writes Dr John Lockley in his book A Practical Workbook for the Depressed Christian, “Not only is he depressed but he also feels guilty because, as a Christian, he feels he is supposed to be full of joy.” 

In some evangelical circles, depression is either treated as something that doesn’t exist, is minimised, or mistakenly believed to be the result of unconfessed sin. Spiritual leaders who are ignorant of the nuance around mental health believe that depression can simply be prayed away. When that doesn’t work, they can often blame the sufferer for their lack of healing, putting them in a very lonely place. “One of the most painful elements of mental illness is that it’s marked by isolation, which is exactly the opposite of what people need” writer Amy Simpson said in a 2014 interview; “And one of the things people with mental illness most need is for this kind of loving community to tighten around them, not to loosen”. Why is this relevant to a superhero blockbuster? Well, the climax of the film does a great job of illustrating a positive approach to mental health.  

The finale of Thunderbolts* somehow manages to have its cake and eat it. Once again, New York is in need of saving, but also, it’s about trying to help a young person overcome their depression and not completely succumb to The Void. Being able to go into someone’s mind and see their core traumas writ large is the most comic book conceit in storytelling. Inside Bob’s psyche, we see him trying to fight The Void, and failing, and it’s only when he has help from the rest of the Thunderbolts* is he able to get a temporary release from The Void’s grip. It would be a mistake to over-state this scene as a full-on treatise on how to tackle mental health issues, but it might just have some clues as to how to go about it: 1) don’t expect that any battle with depression is decisive. It can always come back and it’s better to prepare for that possibility and 2) you don’t have to battle it alone, it would be madness to even try.  

It's a surprisingly sincere place for a seemingly wry film to end, but it really, really works. It could be that expectations may have been lowered, or that we were expecting a film with the emotional depth of a puddle. But Thunderbolts* wildly exceeded expectations, and as the best post-credits scenes often do, there’s a promise that the best is yet to come.  

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