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When the seasons shift, so do we

Autumn brings beauty and melancholy in equal measure

Rachael is an author and theology of mental health specialist. 

 

 

A man walks a dog along a misty city park path.
Ekaterina Novitskaya on Unsplash.

In my house, the arrival of Autumn heralds two distinct emotions. My husband feels gloom settle upon him as the days draw in and a chill begins to sharpen the morning air, whilst I’m cheerfully pointing out the curling leaves beginning to change colour and admiring the beauty of an early-evening sunset.  

For me, there is something enchanting about autumn that feels even more of a ‘new year’ than January, but for my husband, it’s just a sign that winter is close and the summer holidays are a distant dream.  

Ten years in, we’ve learned how to tread lightly through the seasonal changes which provoke such contradicting emotions in us. I know the dark mornings aren’t easy for him, and he appreciates that heat makes me grumpy.  

And we aren’t alone in our strong feelings about the seasons changing. We all have preferences, but for some, the beginning of a new season may trigger illness, such as in the case of seasonal affective disorder (which, whilst most commonly suffered during the winter months, can affect people in the summer months instead).  

Ultimately, each season brings its own unique joys and sorrows, enjoyed by some and endured by others, but what’s important is that we accept these differences and find a way to connect through the changes.  

It’s something we see in the way the church journeys through the year, too. Sometimes called the liturgical year, as the seasons change, there is a focus on a different part of the story of scripture.  

Autumn is when harvest is celebrated, when we offer our thankfulness for the natural world and how it provides for every living thing.  

Whether meteorological or theological, following the rhythm of the seasons gives us the opportunity not just to celebrate together, but to learn how to suffer well and grieve together.  

In the church year, the times of celebration, like Christmas and Easter, are preceded by times of reflection and lament. Advent is characterised by the people of God waiting for the light of the world to break through the darkness, whilst Lent offers the chance to seek forgiveness and grieve over all that is wrong with the world and within us. These seasons trace the story of Jesus’ life, death and resurrection - sometimes resonating with our own life seasons and at others contrasting painfully.  

In the Bible, there’s a book called Ecclesiastes, written by an unknown person referred to as Quohelet or ‘teacher’ and it talks about there being “a season for everything under the sun”, they assert that ‘There is … a time to be born and a time to die … a time to weep and a time to laugh.’  

It’s a reminder as we trace the seasons, that there is space in human life and faith for all of our emotions. We see it in the variety of emotions expressed not only in books like the Psalms, but in Jesus’ own life.  

And the ability to come together and mark these seasons before God, even when they differ from what we’re experiencing personally, is one that draws us together. It reminds us that through all the maelstrom of emotions and changes life brings that there is a drumbeat through every season: We are loved by God and out of that, we love one another.  

The changing of the seasons can evoke a multitude of memories and emotions, but if we let it, it can also act as a call to come together and be led by love. We can learn to do as the apostle Paul instructed the early Roman church to do: “Rejoice with those who rejoice and mourn with those who mourn.” 

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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 Gough 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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This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

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