Snippet
America
Comment
Trauma
3 min read

Why Charlie Kirk’s murder shook me so much

When violence hits close to home, we search for answers

Will Fagan serves as a minister in the Episcopal Church in Birmingham, Alabama.

Mourning students at a vigil hold a sign about Charlie Kirk.
Students at Texas Tech hold a vigil for Charlie Kirk.
X.com/OldRowOfficial.

Unless you've managed to avoid all news this week, you’ll have heard of a series of unconnected violent attacks in the United States, the most recent being the assassination of 31-year-old conservative political activist Charlie Kirk during a speaking engagement at a university in Utah. 

Every time there is a shooting in my country – whatever the motives – I become physically sick and had a similar reaction this week. I cannot watch the news; I delete social media and avoid the topic in conversation as much as possible. Our present and public culture of violence coupled with the resultant news cycle is simply too much, too fear-inducing, and leaves one with the helpless thought of, “what would happen if I was in a situation like this?” I’m sure I’m not alone in this response. 

I do not agree with Kirk’s politics (though as an ordained minister, I wouldn’t tell you if I did), yet what I can tell you is that his death has gripped me in a way I couldn’t have foreseen, nor expected, becoming strikingly close to home. Kirk was 31 with a three- and one-year-old child. I am 32 with a three- and one-year-old. The idea that this could happen, period, followed by the thought of a prospect of never seeing my own children grow up completely undoes me.  

This is undoubtedly a common response to when tragedy strikes individuals with whom we can readily identify. I doubt I have to list examples (were you 37 years old when Princess Diana died?; etc). because you’re probably thinking of certain instances right now in times where tragedy has hit, even metaphorically, quite close to home. 

As I write this not from a gun control perspective, nor a political one at all, what is the theological answer to why events like this continue to happen? It is a question that I have been asked, unprovoked, by three young fathers (of diverse political persuasion) this week who have been gripped similarly to me.  

What continues to come to mind is a blanket statement written by the Apostle Paul in his first century letter to the Galatian churches in which he calls the backdrop of our lives, “This present evil age.” It is a harsh statement, and it is unpleasant, but I also think it is true. How, you ask, can I apply this first century statement to 21st century life?  

For one, Paul is writing about the time before Jesus Christ returns, a time that Christian teaching states that we presently occupy, so the statement does apply. But perhaps more importantly, when I look around, I confess that, especially in weeks like this one, “this present evil age” is an existence that I recognize. It is an existence that tragically we can largely expect, an existence that cannot be fixed politically, personally, or corporately as much as we would like to. 

Rather than depressingly stripping us of agency, how is this helpful? I find it helpful in two key ways: First, this present evil age as a descriptor is helpful because it helps answer, “Why?” to my despondency, confusion, and nausea at senseless tragedy. It helps me put those feelings somewhere and begins to, if only slightly, give the nonsensical a name.  

More than that, though, it forces me to look beyond this world, and to a power greater than the seen forces here – a power that I cannot see, a power that is good, merciful, and just, a power that will one day, and hopefully soon, make all things new.  

Of course, we cannot make sense of senseless and violent and sickening tragedy. We weren’t meant to, and that is grievous. So might we only call on the name of the one who has come to this present evil age before, and that he might come again – soon.   

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Review
Culture
Death & life
Film & TV
Trauma
5 min read

Bridget Jones: a brilliant mess of a movie

A fresh expression of lost, stolen, love.
A couple sit on outdoor seats, her resting her head on his shoulder.
Working Title Films.

I cannot overstate how low my expectations were going into this film. I love the first Bridget Jones, a classic of the (specifically British) romcom genre. The two sequels were tedious retreads, and the idea of number four in the series elicited the opposite of delight. I went to see Bridget Jones: Mad About the Boy out of parochial duty – many of the film’s beautiful exterior shots were filmed in my parish, at the church school and the surrounding streets. I wanted to ‘represent the parish’ and show some local pride. I wasn’t alone; I saw many faces I recognised from the school gates, and I ended up sitting next to a parishioner. Thank goodness cinemas are dark!  

You’ll understand by the end of the review. 

The film opens on Bridget, rather disorganised and dishevelled in just the manner we’ve grown to love, getting ready for a night out while also preparing dinner for her children. She and Mark Darcy now have two children, and the house looks like a cyclone has passed through. She calls Daniel Cleaver, who engages in some raunchy chat, and then insists he’s on his way. Oh no! Have she and Darcy divorced? Has that bounder and cad Cleaver wormed his way back in?  

Cleaver arrives at her home…to babysit!?  

Bridget hurries off to her dinner, and as she approaches her host’s front door she smiles. Darcy is walking towards her from the other end of the street. They meet at the door and lovingly complement each other’s appearance. They ring the bell. The door opens. Bridget in standing there. Alone. 

Bridget is a widow and a single mother. Her children are adorable, but hard work. She hasn’t worked properly since Mark died. She is both overwhelmed and yet also numb. She has no life or purpose outside of the chaos of her home. Her friends – especially her gynaecologist – encourage her to re-invent and re-emerge. Go back to work, go back to socialising, go back to dating. 

This is the first five/ten minutes of the film and sets the scene.  

To begin with the positive. The script is very funny. The direction is competent and even throws in a few unexpected and moving tableaux. The cast are on fire! Renée Zellweger could sleepwalk this role, scrunching her eyes in that endearing way on command. Leo Woodall is smouldering and hunky as the young lover, and Chiwetel Ejiofor is pure charisma and chemistry as the new science teacher Mr. Wallaker. Emma Thompson chews the scenery and delivers the best jokes as Bridget’s gynaecologist. The standout is Hugh Grant, who has immeasurable fun turning the roguish lothario Cleaver into the wittiest silver-fox we’ve seen on screen for many a year. He is at the peak of his career, and it is a joy to watch. 

But… 

None of it really hangs together. There is no real plot; there are little comedy sketches and episodes that jump from one to the other – never entirely unrelated, but never entirely coherent. 

This is a film of many subplots. The subplot of Bridget and the mums at the school gate. The subplot of Bridget getting back to work. The subplot of Bridget smoothing the rough edges off Mr Wallaker (who uses a whistle like a weapon). The subplot of Daniel, of her friends from the first film, of her parents, and so on and so on.  

There is the subplot of Bridget developing a new, modern, Tinder romance with a hunky Hampstead Heath ‘ranger’ (the ‘boy’ of the title). It could be argued this is the main subplot: Bridget finding new confidence and a new lease of life via a summer romance with a handsome younger stranger. It is also the most forgettable. It’s shallow, and is really only an excuse to make updated references to the original film. 

The film is a mess. 

And yet… 

I cried. I cried more than once, and proper tears. Thank goodness cinemas are dark, because no priest wants their parishioners to see them blubbing, especially while watching a Bridget Jones sequel! This mess of a film has a single strand that runs through it, gives shape to its episodic nature, and turns it from an ‘okay’ film into a brilliant film.  

Grief. 

Bridget is grieving Darcy. Her children are grieving their father. Cleaver is grieving the life he could have had – so committed to debauchery was he, that he has no one permanent in his life (except Bridget) and he hasn’t spoken to his son for nearly two decades. She and her friends are grieving the passing of the years, and the reality that they are 25 years older. Through the raunch, and crude jokes, and slapstick set-pieces, this film surprised me by being a slow-burn meditation on grief. I won’t say too much more about the film because – and I can’t believe I’m saying this about a Bridget Jones film – this film really does need to be experienced fresh.  

This is a welcome supplement and corrective to the Valentine season: an exploration of love that is lost or stolen away, and is sorely missed. It is a life-affirming bit of cinema, that takes you through the stages of grief (there is even a scene where her friends debate just how many stages there are) and the various methods we have for dealing with them. It even includes a clumsy little science/faith debate, and yet manages to conclude by encompassing all views. 

The film has a truly pastoral message. Grief cannot be avoided. Grief is a sign that love was real, and also that love cannot be snuffed out…even by death. Bridget intermittently has visions of Mark, and by the end of the film she has managed to make peace with those visions. They won’t leave her – her love for Mark won’t leave her – even as she experiences new love. Bridget ends the film recognising that her grief won’t leave her…and she can still live the fullest and happiest life possible. 

Go see it. It’s good to have a cry sometimes. 

4.5 stars 

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