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Why Blue Monday resonates despite the pseudoscience

The seasons of life actually need some meteorological awareness.

Rachael is an author and theology of mental health specialist. 

 

 

A wrapped-up man sits and leans against a bare tree, as dark clouds give way to sun.
Isaak Alexandre Karslian on Unsplash.

Christmas cheer has long gone, the weather is grey and wet, bills are high and we’ve most likely already broken our New Year’s resolutions - January seems to have a lot to answer for! 

So much so that the third Monday in January has actually been called “Blue Monday” - the most depressing day of the year. 

 It was developed using a mathematical equation taking into account all the elements of January misery - and the cure? Booking a sunny holiday.  

It sounds like it makes sense, doesn't it? Don’t we all feel a slump in the dark cold days in the middle of January? 

The problem is, ‘Blue Monday’ is based on some rather shaky pseudoscience concocted purely for a travel company to sell their summer holidays. In the equation, the units are undefined, and the formula can’t be verified making it effectively useless.  

Despite this, the idea of Blue Monday has captured our imaginations and our attention - meaning that even though it is nothing more than a marketing campaign written way back in 2005 - the idea has stuck around because it makes sense.  

And we like to make sense of our feelings, don’t we? If we can pinpoint a specific reason for why we feel low or unmotivated, we feel less alone. Perhaps that’s why the idea of Blue Monday has persisted for twenty years.  

For some, the seasons can have a tangible effect on mental health, up to three percent of people live with ‘significant winter depression’ and gimmicks like Blue Monday risk trivialising the debilitation of Seasonal Affective Disorder.  

Even for those of us who do not live with seasonal mental illnesses, we have different needs according to the seasons. Our energy ebbs and flows throughout the year - it’s natural to want to live at a slower pace during the dark winter months -many people find themselves sleeping and eating more when we have shorter days and longer nights. 

Emotionally we will also have seasons where we experience life as vibrantly as spring and others when we want to retreat and feel the need to grieve our losses as the seeds hide beneath the ground away from the cold, waiting to bloom. 

Author Katherine May writes about this in her book Wintering: “Plants and animals don’t fight the winter; they don’t pretend it’s not happening and attempt to carry on living the same lives that they lived in the summer. They prepare. They adapt. They perform extraordinary acts of metamorphosis to get them through.” 

It’s something that both the Bible and the church year recognise, that we have to adapt to the seasons of life we’re living in. The writer of Ecclesiastes, sometimes thought to be King Saul, writes that “There is a time for everything, and a season for every activity under the heavens” and he goes on to include living and dying, planting and uprooting, killing and healing.  

We can be encouraged that there is no specific day that is more or less depressing than any of the others, but also recognise the changing seasons that our emotions go through in the same way as the natural world does. 

What matters is that we, lean into the season of life we’re in and not deny it. The church year allows us to do so through liturgy, as we cycle through Advent, Christmas. Lent, Easter and Ordinary time. There are opportunities to grieve our losses, celebrate our joys, learn lessons and practice what it means to be in community through every emotion. By going through these seasons and leaning into the meteorological seasons we give ourselves a chance to stretch our emotional muscles in mourning, rejoicing and simply working out how to navigate everyday life! 

Paul, who pastored and wrote to many churches in their early days, told one church in Rome to “Laugh with your happy friends when they’re happy; share tears when they’re down,” and this I think is simple advice for us as we travel through the seasons of our lives and the year. All emotions - however uncomfortable they might be - need attention. 

Blue Monday may be a marketing myth but recognising that we need to make space for all our feelings - the happy and the sad - can be just the reminder we need. 

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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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