Article
Belief
Comment
Film & TV
5 min read

When Faithfuls lack faith, there’s a lot more to lose

Having faith is hard. It can be a costly act of courage.
Four game show contestants and a host stand in the garden of stately home.
The Faithful Four.

And so The Traitors comes to a close once again.  

Despite the small matter of it reinforcing my anxieties about our modern predisposition for isolation, I’ve really enjoyed this series. It’s been full of twists, tension, and just the right amount of over-the-top melodrama.  

And in this respect, the series finale did not disappoint. Amidst the backstabbing, and the reveals, and the arguments, however, it got me thinking about the nature of faith.  

Be warned: there are spoilers ahead for the finale of The Traitors

As the finale begins, pseudo-Welshwoman Charlotte (I promise that makes sense in context) is the last Traitor standing. However, she is unmasked as a Traitor by Faithful Frankie, who wins the power to reveal one contestant’s identity and picks the right person through a mildly infuriating fluke.  

Charlotte is banished and the remaining four Faithfuls enter ‘the endgame’. At this point, if all four agree, the game ends and they split the £94,600 jackpot between them. That is, unless a traitor remains in the game. In that case, the traitor takes the lot.   

It was absolutely fascinating and more than a little heartbreaking to watch these four people – all of whom were Faithfuls – work out whether they can trust each other. If all of them agree to end the game, they each walk away with £23,500.  

But they don’t.  

Initially, all four contestants decide to continue. None of them quite trusts the people around them. And so, the hapless Alexander is voted off next. He was too pure for this game anyway; he would have given his share to charity. 

Three remain. All three once again vote to continue. 

One contestant, Jake, says  

“I’m just not confident that I can trust the people around me.”  

And so he, along with the other remaining Faithful Leanne, votes to banish Frankie. The same Frankie who outed Charlotte as a Traitor. The same Frankie who wanted the money so she could surprise her boys back home.  

Two remain. And so the game ends by default.  

But the doubts don’t end. Jake and Leanne are left wondering if they will leave with £47,300 each, or if they’re just about to be screwed over by the other. The viewer gets the impression that, if each could banish the other, they would.  

“Why won’t you look me in the eyes?!” Leanne asks Jake in a panic, now seemingly convinced Jake is a traitor, about to take away all her hard-earned money. About to take away her only chance at IVF, and a baby.  

Both are revealed as Faithfuls and the game ends with joy and tears. Jake gets to renovate his house, Leanne gets to try for a baby. All is well. Except for the 23 other contestants who leave with nothing, dreams in tatters. 

I’m not saying that Jake, Leanne, Frankie, and Alexander are wrong for being suspicious of others. Having faith is hard. It is an act of courage.  

The only way the common good is most fruitfully attained is through the exercising of faith in one another. 

It’s easy not to have faith in very much at the moment. Our politicians are a heady mix of inept and corrupt. Our institutions often appear as little more than opaque, faceless entities hell-bent on self-preservation and self-interest, costs be damned. 

It’s hard to make a compelling case for why you should trust the state. Or the police. Or even the Church. Or any other number of people or institutions. Each is surrounded by a litany of failure and cover up. In such a context, faith seems an act of foolishness. 

And notice, too, that having faith in their fellow Faithfuls would have been a costly decision to make. Leanne and Jake leave The Traitors with £47,300. Had they trusted their fellow Faithfuls, that number would be halved. Still a remarkable amount of money but, when you’re attempting IVF or renovating a house, this can be the difference between getting everything you’ve dreamed of, or not.   

That’s exactly what The Traitors finale brings into such sharp relief. It takes courage to have faith. It is not a cop out. To have faith in those around us is to put our neck on the chopping block and hope no-one swings the axe.  

To have faith is to risk that which is most dear to us in the hope that others might have what matters most to them. It is a deeply vulnerable act of selflessness. It is not meant to be easy. 

And so ultimately, we can forgive the Faithfuls their faithlessness. Would you trust a complete stranger if £47,300 was on the line? When I think of everything that money would mean for my family, I’m not sure I would. 

But the only way the common good is most fruitfully attained is through the exercising of faith in one another. Only through faith in the fundamental goodness of humanity can we reach a truly equitable society where Leanne gets her baby, and Jakes gets his house, and Frankie gets to treat her family, and Alexander gets to donate to charity. (Bless that man, but he is slightly undercutting my point with his selflessness here. How selfish of him.) 

Having faith is not easy, or fun, or comfortable, or without sacrifice. It is an act of love that costs much. An act of love that places us in a relationship with others that is vulnerable to abuse and deceit and harm. And for those who have had their faith repaid with abuse and deceit and harm, the cost of continuing to live in faith can understandably seem too high.  

But maybe, just maybe, there is truth and goodness and beauty to be found in humanity of those around me. Maybe, just maybe, The Traitors warns us of the dangers of allowing our suspicions to trump our faith in each.  

Maybe, just maybe, it invites us to imagine a better alternative.

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Article
Character
Culture
Film & TV
Music
4 min read

Love is all you need. Really?

We want to feel the main character energy of each of the Beatles

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

Four actors dressed in black stand together
The new cast.
Neal Street Productions.

One of the joys of moving into central London is the nostalgia. You can 'remember' anything in London, but for a Beatles fan like me (one year I was in the top one per cent of listeners globally on Spotify - impressive, I know - and it was before I had kids), the aesthetic of central London is deeply connected to the fab four. I'm aware it's not Liverpool but look what London has to offer fans of the fab four.  Abbey Road’s crossing, the rooftop performance in Savile Row, or the amount of time the fab four spent just here for the famous launch of Sgt Pepper. Walking around these streets with my headphones in, it's impossible not to smile at music that is faultlessly happy-making. 

Sir Sam Mendes, however, is taking the immersive Beatles experience to a whole new level. Four coordinated films will be released in 2028 in a stunning act of ambition and delayed gratification. Mendes' production company says it will be the first 'bingeable theatrical experience.' 

Now that the cast have been revealed, lots of questions remain: How long will the films be? Will they all be released at exactly the same time? Will there be Lord of the Rings viewing marathons? By the way - did you hear about the failed pitch for a Lord of the Rings film starring John as Gollum, Paul as Frodo, George as Gandalf and Ringo as Sam? We've missed that particular masterpiece, as Tolkien turned it down, as did Stanley Kubrick for that matter. The man it did fall to, Peter Jackson, recently also released a Beatles television experience in Get Back. Even for Beatles diehards like me I've not made it through all 468 minutes. But I saw enough to see Shakespeare being written. 

Screenwriter Peter Straughan (Wolf Hall, Conclave) said that the different script writers for the not-so-imminent upcoming four films were "firewalled off from each other", so we receive four takes truly inhabiting the shoes of each protagonist. Band members wanting their own 'main character energy'? Surely not! 

Only Mendes knows how the films will tie together. "Each one is told from the particular perspective of just one of the guys," Sir Sam told CinemaCon in Las Vegas on Monday. "They intersect in different ways - sometimes overlapping, sometimes not." 

"They're four very different human beings. Perhaps this is a chance to understand them a little more deeply. But together, all four films will tell the story of the greatest band in history." 

An omnipresent director still has infinite attention for each one us within a grander narrative arc. 

Lennon and McCartney are undeniably geniuses. But with the Beatles, they were always greater than the sum of their parts. Even the songs that were solos were credited to Lennon/McCartney. Their solo works, no disrespect, never quite reached the dizzying heights of their collective efforts. 

But a biopic for each bandmember is a terribly 2020s take. We want to feel that main character energy pulsing through our veins. While we want to feel part of something bigger, we want to feel that our lives are unique and distinct, not derivative (the latter not being a problem for The Beatles). 

But a quartet of films, "challenging the notion of what constitutes a trip to the movies", harmonising in new ways (remind you of anything as subversive and groundbreaking?) provides an utterly lovely step-change in cinema. There's been no shortage of Beatles biographies and films, but this new concept comes closer to art imitating life. Our lives have to be lived independently, but are somehow made more meaningful and rich in connection and collaboration with others.  

The philosopher Tom Morris wrote: "There are two striking human passions, the passion for uniqueness and the passion for union. Each of us wants to be recognised as a unique member of the human race. We want to stand apart from the crowd in some way. We want our own dignity and value. But at the same time, we have a passion for union, for belonging, even for merging our identities into a greater unity in which we can have a place, a role, a value.” 

Can those passions be held in tension? The Christian faith, while commending us to be outward-focused, does more than polyphonic films. It says that each of us are worthy of our own 'cinematic events'. Yes, we mightn't have started living until we have broken free from our own confines to the concerns of broader humanity, as Martin Luther King said, but an omnipresent director still has infinite attention for each one us within a grander narrative arc. 

All you need is love, they sang. But that love needs the perfect perspective of someone else. 

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