Article
Comment
Loneliness
Mental Health
5 min read

What Bobby Brazier, Jo Marsh and Eleanor Rigby have in common

A public health campaign asks influencers if they are lonely.

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

a young man looks pensive as he answers a questuon while sitting in a fancy room.
Bobby Brazier at 10 Downing Street.
NHS.

‘Loneliness. It’s a part of life. Let’s talk about it’  

That’s the new slogan offered by the NHS in partnership with the Department for Culture, Media and Sport. As part of their campaign, they recently invited young influencers and TV personalities to Downing Street to do just that – to talk about loneliness.  

With those aged between 16 and 29 now twice as likely to report feeling lonely as those over 70, these celebrities were tasked with answering a few of the questions most asked by people within that age group. Their questions went along these heart-wrenching lines:  

Why am I so lonely?  

Is it normal to feel lonely?  

Will I always be this lonely?  

And while their answers to such questions were a little ‘meh’ (whose wouldn’t be? They were given seven seconds to answer some of humanity’s deepest questions), it doesn’t much matter, their answers weren’t really the point. Rather, viewers were presented with a handful of popular, successful, lovable (looking at you, Bobby Brazier) and happy looking people doing something notoriously difficult: admitting loneliness.  

And I think that may be the point.  

I am of the firm opinion that admitting to feeling lonely is one of the hardest things a person could do. I have certainly never had the bravery to do it.  

I remember watching Greta Gerwig’s 2019 adaptation of the beloved 1868 novel, Little Women, for the first time; I was always going to love it, I had decided as much before even stepping foot in the cinema. But there was one scene that felt as if it literally took my breath away. I was left winded in row C.  

It is toward the end of the film, and Jo Marsh, the feisty, strong and independent protagonist, is giving a feminist monologue  for the ages (albeit to her mum) as she stands in the attic of her childhood home. Jo speaks of women’s minds and souls, their ambitions and talents, she explains how sick she is of being underestimated, getting more impassioned with every word. That is, until she tearily ends her speech by declaring – ‘…but I’m so lonely.’ 

This isn’t in the book.  

This final line was written by Greta Gerwig specifically for this adaptation. And the only person who seemed to be more taken aback by Jo’s words than me (an owner of more editions of the novel than is cool to admit), was Jo herself, who instinctively clasped her hand to her mouth as if she couldn’t believe that she’d just said such words aloud.  

As far as filmmaking goes, it was genius. As far as human nature is concerned, it was, well, true. 

Not only do we find loneliness acutely painful, but we also tend to find it near impossible to admit to, so much so, the government currently feels the need to step in. Why is that, I wonder? Why does ‘lonely’ seem to be the hardest word? 

Those who admit to their own loneliness are wading into profoundly vulnerable waters. 

Part of it is certainly because there is a social stigma attached to feeling lonely. Ironic, isn’t it? How loneliness has social connotations. Nobody wants to be Eleanor Rigby, nor Father McKenzie, nor any of ‘the lonely people’ that Paul McCartney so pities, for that matter. It’s one of the only Beatles songs you wouldn’t want to have been written about you. Loneliness feels like a failure somehow, and so we struggle to admit it, even to ourselves. A failure because, we’re supposed to be self-sufficient, independent, free-thinking, emotionally-sturdy individuals (which is the operative word, of course). That’s what individualism has taught us, isn’t it? And so, how do we reconcile that with the piercing pain of isolation? How do we admit that there’s a deep crack within us that can’t be papered over by success, or wealth, or another episode of our favourite podcast? How do we go about admitting such a lack? A lack, which despite individualism’s best efforts, has us naturally wondering why it’s there in the first place; are we unpopular? Unattractive? Unlikable? Or worst of all, unlovable?  

Those who admit to their own loneliness are wading into profoundly vulnerable waters. And most of us are utterly unwilling to follow them there, lest we be spotted by a budding Paul McCartney and our loneliness be immortalised.  

And then, of course, there’s the other side of the coin: what does our loneliness say about the people who we are in relationship with? Nobody wants to unleash the panic and guilt tucked away in that can of worms (which, I must note, is unnecessary panic and guilt - there could be any number of reasons you’re feeling lonely, despite your very rich relationships).  

And so, we just don’t say the word. And that’s what appears to be making the NHS and, rather randomly now that I think about it, the Department for Culture, Media and Sport so nervous.  

We need to admit when we’re lonely. We have to pull a Jo Marsh and say it out loud. We must give language to the lack that we feel.  

To be known and loved is my deepest and truest need.

One of the things that I find myself most consistently thankful for when it comes to my Christian faith (you know, apart from the most obvious aspects…) is that it gives me such language. At the risk of sounding annoyingly self-centred, it dignifies the feelings that I find hard to even acknowledge. It offers explanation, and therefore, a comfort that I could never find anywhere else; a comfort rooted in truth.  

It may sound nuts, but I have come to understand the reality of loneliness, not through influencers on a sofa in Downing Street (although that’s great), and not even through Jo Marsh’s monologue (which is even greater), but through an ancient Hebrew poem. This poem tells me that to be alone is ‘not good’.  

Not good. Not right. Not as it should be.  

That’s God’s point of view at least – that to be alone, properly, completely and permanently alone, goes against the very fabric of the world. It is at odds with human flourishing. I’ve come to deeply value how concrete that is. I’ve also learnt to relax into the knowledge that not only is loneliness ‘normal’ (referring to one to the questions referenced at the beginning), it’s natural, in every possible sense of the word.  

To be known and loved is my deepest and truest need. I was designed for relationship, with God and with people. And therefore – with all the complex ways that life unfolds - to be lonely, is to be human.  

So, with all of this in mind, I’m tempted to end where we began, to come full circle and once again borrow the government’s words: 

‘Loneliness. It’s a part of life. Let’s talk about it.’  

Article
Comment
Politics
Truth and Trust
5 min read

The ancients had the right words for Trump’s tussle with the BBC

Can the truth be concealed?

Hal is a theologian and writer based in London.

A composite images shows the entrance to the BBC on one side and Donald Trump on the other
BBC.

The recent controversies surrounding the BBC's leadership and the lawsuit brought by Donald Trump may appear, at first glance, to be merely another chapter in the ongoing drama of contemporary politics and media. Yet for those with eyes to see, something far older and more profound lies beneath the surface turbulence—a perennial struggle concerning the very nature of truth itself, one that reaches back to the dawn of Western thought and touches the deepest springs of our common life. 

The sequence of events is itself instructive. The disturbances at the Capitol occurred on January 6, 2021. More than three years thereafter, the BBC's Panorama programme broadcast an investigation examining the relationship between Mr Trump's rhetoric—his exhortation to "fight like hell"—and the violence that ensued. The programme did not fabricate a narrative but rather sought to interpret one, attempting to hold words and their consequences together within a coherent moral framework. This work was, in its essence, what the pre-Socratic philosopher Parmenides termed Aletheia: truth understood as 'unconcealment', the patient labour of bringing into public view that which has been hidden or obscured. 

A vocation 

When the crisis deepened, the BBC's then Director of News, Deborah Turness, reaffirmed the Corporation's mission as the pursuit of truth "with no agenda". It was a well-intentioned defence, though perhaps insufficiently bold. For the BBC's founding vision was never a pursuit of neutrality as an end in itself, but rather the pursuit of truth in service of the common good—a vision given permanent expression in the inscription carved into the very walls of Broadcasting House: 

"This Temple of the Arts and Muses is dedicated to Almighty God... It is their prayer that good seed sown may bring forth a good harvest... that the people, inclining their ear to whatsoever things are beautiful and honest and of good report, may tread the path of wisdom and uprightness." 

This inscription is no mere ornament. It constitutes a theological statement concerning the vocation of public speech. The call to sow "good seed"—echoing Jesus’ parable of the sower in St Matthew's Gospel—the summons to attend to whatsoever things are "honest and of good report" as St Paul exhorts in his letter to the Philippians, and the call to walk "in wisdom and uprightness" from the book of Proverbs—all these speak to a moral order in which words are meant to bear fruit. Panorama's investigation may be understood as a contemporary attempt to fulfil this sacred charge: an inevitably human and imperfect effort to unconceal the connection between language and its consequences in the world. 

The ancient force of oblivion 

Mr Trump's response, however, embodies a different and equally ancient force: Lethe—the personification of oblivion and forgetfulness in Greek thought. His lawsuit is not simply a defence against an allegation he finds unwelcome. It represents, rather, a strategic campaign to enforce forgetfulness. What Trump has chosen to bring into the light is not his own intent or action, but rather the BBC's editorial process. By directing all attention toward the matter of editing, he seeks to bury and render forgotten the original and far more consequential question: the demonstrable connection between his words on the sixth of January and the violent response of his supporters. The strategy is to employ a minor unconcealment—the technical matter of the edit—in order to accomplish a major concealment: the causal chain linking rhetoric to riot. 

This, then, is the quiet heart of the matter. The lawsuit functions as a modern political instrument deployed within an ancient philosophical conflict. It represents a deliberate choice for Lethe over Aletheia, aiming to dissolve the connection between word and reality, and to immerse the most uncomfortable truths in the waters of oblivion. 

For Christians, this struggle occupies familiar ground. To stand for truth is not to claim infallibility—a pretension that belongs to God alone—but rather to participate in the slow, difficult work of revelation: to bring things into the light for the sake of healing and restoration. Whether in journalism, the Church, or the wider public square, truth remains first a vocation before it becomes a verdict. 

The crisis at the BBC, therefore, is not merely about institutional governance or corporate reputation. It serves as a reminder that the pursuit of truth is always a contested act of unconcealment, perpetually threatened by the seductive pull of forgetfulness. In an age tempted by distraction and denial, even imperfect truth-telling becomes an act of faith—a wager that reality is trustworthy, that words have weight, that consequences follow causes. 

A reason to persevere 

This ancient struggle between unconcealment and oblivion offers perspective on our present moment. For those who hold religious faith, it recalls St John's testimony that "the light shineth in darkness, and the darkness comprehended it not"—a conviction that truth ultimately prevails. For those who do not share such faith, the argument stands on its own philosophical ground: that truth-telling, however costly and imperfect, serves something greater than partisan advantage or institutional survival. 

The inscription at Broadcasting House speaks to both believer and non-believer alike. Its prayer for "good seed" and "good harvest", its call to attend to things beautiful, honest, and of good report, articulates a civic ideal that transcends particular creeds. It suggests that public institutions bear a responsibility—not to be infallible, but to resist the gravitational pull of forgetfulness, to maintain the connection between words and their consequences, to choose unconcealment over oblivion. 

Whether one grounds this commitment in theological conviction or in secular principle, the work remains the same: the slow, difficult labour of bringing uncomfortable truths into the light, trusting that a society capable of facing reality is stronger than one that retreats into comfortable fictions. In an age tempted by distraction and denial, this may be reason enough to persevere. 

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