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
Culture
Film & TV
4 min read

Shardlake: the Disneyfication of the Monasteries

What works, and doesn’t, translating from page to screen.

James is a writer of sit coms for TV and radio.

Two men in Tudor clothing converse in a street
Shardlake, left, played by Arthur Hughes.

Have you ever had that sense of dread on discovering your favourite novel is going to be a movie or a TV series? Fans of CJ Sansom’s books have been divided on the adaptation of their favourite historical novels about a hunchbacked lawyer during the Dissolution of the Monasteries. Some have been delighted by what they’ve seen, and felt the four episodes of Shardlake on Disney+ were true to the original books. Others were appalled. 

The originals books are greatly loved. On The Rest is Entertainment podcast, Richard Osman read out comments from his own mother about how and why she loved CJ Sansom’s book so much. I was not so captivated. I read the first book, Dissolution, some years ago and liked it. But I didn’t like it enough to read more. 

So when the TV adaptation landed on Disney+ I was curious. My own reaction was relief that CJ Sansom had passed away only days before his first novel arrived in our living rooms. Sansom was committed to historical accuracy and authenticity. The TV Series? Not so much. 

But Shardlake is entertainment for the masses, not the bookish. Why shouldn’t sixteenth century monks have incredible teeth? Why shouldn’t they burn candles by the dozen in every room of the monastery, day and night, despite the fact that candles were eye-wateringly expensive back then? And yes, these monks should be going to church at least nine times a day, and spend hours in prayer and private study. But who really wants to watch that? This isn’t Wolf Hall on BBC2. This is mainstream global streaming TV: the Disneyfication of the Monasteries.

Given the differences in the media, why are both versions of Shardlake so successful? The secret sauce is the hunchback himself, Shardlake. 

As a screenwriter myself, I know all too well that the dynamics of twenty-first century television – aka ‘content’ – and novels are very different. (My failed novels have reinforced this lesson for me). Shardlake has to appeal to an international audience who have not read, and will never read, CJ Sansom’s books. They won’t even listen to Tom Holland and Dominic Sandbrook talk about the Dissolution of the Monasteries on The Rest is History podcast. 

Novels are fairly cheap to print. TV is expensive, burning money faster than the monks of St Donatus can burn candles. Shardlake is international TV, financed internationally and filmed internationally. Consequently, you are not looking at the Kent countryside. You are looking at Hungary, Austria and Romania for a mixture of reasons. Mostly these would be tax breaks, cheaper crews and financial incentives. 

St Donatus’s monastery is a mash up of the medieval Kreuzenstein Castle near Vienna and the gothic Hunedoara Castle in Transylvania. It looks brilliant. It just does not in any way resemble a medieval monastery – which were surprisingly uniform through Europe. The chapel at the monastery is comically small, whereas there would, in real life, be a hilariously large abbey. 

The New Stateman said, “This is not Merrye Englande. It is the Grand Anywhere we’ve come to know all too well in the age of streaming, and it bores me to death, my eyes unable to stick to it,” which seems a little over dramatic. Most of the reviewers were unconcerned by this lack of historical accuracy. The Guardian called it ‘magnificent’, others ambivalent. It scored about 80% on Rotten Tomatoes with both the critics and the audience. Overall, Shardlake has been a hit. 

Given the differences in the media, why are both versions of Shardlake so successful? The secret sauce is the hunchback himself, Shardlake. He is the sleuth, trying to solve the murder of a fellow commissioner in the service of the King’s ruthless right-hand man, Thomas Cromwell. The recipe for the Shardlake sauce is made up of two key ingredients. 

Shardlake bears his cross with fortitude, not bitterness. 

The first is his goodness. It seems like a bland attribute, but it’s rather refreshing, especially in a world divided both then and now. Shardlake is not complex character with inner demons. (At least that’s not how he’s presented in the first book or this adaptation.) When I read the book, my abiding memory is that Shardlake was one of the good guys. This was surprising at the time as normally Protestants were seen Philistines and cultural vandals who cynically changed their theology to strip the church of its wealth, before passing the churches on to their descendants who smashed the statues, whitewashed the walls and, eventually, cancelled Christmas. Shardlake may be in the service of Thomas Cromwell, but he knows in his heart of hearts that Anne Bolyen was innocent of the crimes for which she was beheaded. And in some small way, he makes amends for this. 

But Shardlake’s goodness is only half of the recipe. The other half is his hunched back. In the sixteenth century, this makes him an object of ridicule and shame. It is not flipped around to become a strength. It is an affliction with which he has to cope. Given Shardlake’s world steeped in religion, we are reminded of the ministry of Jesus, who attracted the sick, the crippled, the lepers and the blind. They were, of course, healed and Shardlake is not so fortunate. 

Shardlake bears his cross with fortitude, not bitterness. Likewise, Jesus Christ himself bore his cross as a victim of injustice on trumped up charges, beaten and executed as one cursed alongside criminals, saying ‘Father forgive’. Shardlake, like Christ in the gospels, is a suffering servant. And now Disney may see the Gospel According to Shardlake spreading all over the world.