Article
Assisted dying
Care
Comment
Death & life
Suffering
5 min read

Why end of life agony is not a good reason to allow death on demand

Assisted dying and the unintended consequences of compassion.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A open hand hold a pill.
Towfiqu Barbhuiya on Unsplash.

Those advocating Assisted Dying really have only one strong argument on their side – the argument from compassion. People who have seen relatives dying in extreme pain and discomfort understandably want to avoid that scenario. Surely the best way is to allow assisted dying as an early way out for such people to avoid the agony that such a death involves?  

Now it’s a powerful argument. To be honest I can’t say what I would feel if I faced such a death, or if I had to watch a loved one go through such an ordeal. All the same, there are good reasons to hold back from legalising assisted dying even in the face of distress at the prospect of enduring or having to watch a painful and agonising death.  

In any legislation, you have to bear in mind unintended consequences. A law may benefit one particular group, but have knock-on effects for another group, or wider social implications that are profoundly harmful. Few laws benefit everyone, so lawmakers have to make difficult decisions balancing the rights and benefits of different groups of people. 

It feels odd to be citing percentages and numbers faced with something so elemental and personal and death and suffering, but it is estimated that around two per cent of us will die in extreme pain and discomfort. Add in the 'safeguards' this bill proposes (a person must be suffering from a terminal disease with fewer than six months to live, capable of making such a decision, with two doctors and a judge to approve it) and the number of people this directly affects becomes really quite small. Much as we all sympathise and feel the force of stories of agonising suffering - and of course, every individual matters - to put it bluntly, is it right to entertain the knock-on effects on other groups in society and to make such a fundamental shift in our moral landscape, for the sake of the small number of us who will face this dreadful prospect? Reading the personal stories of those who have endured extreme pain as they approached death, or those who have to watch over ones do so is heart-rending - yet are they enough on their own to sanction a change to the law? 

Much has been made of the subtle pressure put upon elderly or disabled people to end it all, to stop being a burden on others. I have argued elsewhere on Seen and Unseen that that numerous elderly people will feel a moral obligation to safeguard the family inheritance by choosing an early death rather than spend the family fortune on end of life care, or turning their kids into carers for their elderly parents. Individual choice for those who face end of life pain unintentionally  lands an unenviable and unfair choice on many more vulnerable people in our society. Giles Fraser describes the indirect pressure well: 

“You can say “think of the children” with the tiniest inflection of the voice, make the subtlest of reference to money worries. We communicate with each other, often most powerfully, through almost imperceptible gestures of body language and facial expression. No legal safeguard on earth can detect such subliminal messaging.” 

There is also plenty of testimony that suggests that even with constant pain, life is still worth living. Michelle Anna-Moffatt writes movingly  of her brush with assisted suicide and why she pulled back from it, despite living life in constant pain.  

Once we have blurred the line between a carer offering a drink to relieve thirst and effectively killing them, a moral line has been crossed that should make us shudder. 

Despite the safeguards mentioned above, the move towards death on the NHS is bound to lead to a slippery slope – extending the right to die to wider groups with lesser obvious needs. As I wrote in The Times recently, given the grounds on which the case for change is being made – the priority of individual choice – there are no logical grounds for denying the right to die of anyone who chooses that option, regardless of their reasons. If a teenager going through a bout of depression, or a homeless person who cannot see a way out of their situation chooses to end it all, and their choice is absolute, on what grounds could we stop them? Once we have based our ethics on this territory, the slippery slope is not just likely, it is inevitable.  

Then there is the radical shift to our moral landscape. A disabled campaigner argues that asking for someone to help her to die “is no different for me than asking my caregiver to help me on the toilet, or to give me a shower, or a drink, or to help me to eat.” Sorry - but it is different, and we know it. Once we have blurred the line between a carer offering a drink to relieve thirst and effectively killing them, a moral line has been crossed that should make us shudder.  

In Canada, many doctors refuse, or don’t have time to administer the fatal dose so companies have sprung up, offering ‘medical professionals’ to come round with the syringe to finish you off. In other words, companies make money out of killing people. It is the commodification of death. When we have got to that point, you know we have wandered from the path somewhere.  

You would have to be stony-hearted indeed not to feel the force of the argument to avoid pain-filled deaths. Yet is a change to benefit such people worth the radical shift of moral value, the knock-on effects on vulnerable people who will come under pressure to die before their time, the move towards death on demand?  

Surely there are better ways to approach this? Doctors can decide to cease treatment to enable a natural death to take its course, or increase painkillers that will may hasten death - that is humane and falls on the right side of the line of treatment as it is done primarily to relieve pain, not to kill. Christian faith does not argue that life is to be preserved at any cost – our belief in martyrdom gives the lie to that. More importantly, a renewed effort to invest in palliative care and improved anaesthetics will surely reduce such deaths in the longer term. These approaches are surely much wiser and less impactful on the large numbers of vulnerable people in our society than the drastic step of legalising killing on the NHS. 

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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