Column
Church and state
Creed
Feminism
Leading
4 min read

Why Sarah Mullally’s appointment is about more than just breaking the stained-glass ceiling

Not just history-making, it’s a challenge to the Church to rediscover its soul

George is a visiting fellow at the London School of Economics and an Anglican priest.

Sarah Mullally.
Sarah Mullally.
Church of England.

Every new Archbishop of Canterbury has a honeymoon period, before this impossible job ends in tears. The priority should not really be who does it, as what it is they’re doing. As it is, they’ll have to spin too many plates, until one or more fall off their poles and it all ends in tears again. 

Sorry to be such a Jeremiah, such a prophet of doom. This column isn’t going to be a gloomy one, promise. Rather, I’d just like to say that Sarah Mullally, in her translation from the bishopric of London to the archbishopric of Canterbury, represents something more than a triumph in a gender war. 

Very little coverage of her appointment so far has got beyond the historicity of it. Wow, it’s a woman for the first time in the Church of England’s half-millennium. Yes, that’s the news hook, and yes it’s astonishing, both in good and less good ways. But we should scrutinise for a moment what a female distinctly brings to the Anglican party. 

Without this becoming a rehearsal of the past 20 years of women’s ordained ministry in the UK, it may be sufficient to say that it must be a whole lot more than having a primate for the first time without a Y chromosome. So what is it when we ask a woman, specifically, to perform this role?  

We have to look to history to scrutinise the question. First of all, if we accept scripture as history – either as metaphor or literal record – then women’s apostleship has been there from the very beginning. The first witness to the risen Christ on the first Easter morning, Mary of Magdala, was instructed to go and tell her brothers and sisters what she had seen. You don’t get a bigger apostolic mission than that, the apostle to the apostles. 

Women facilitated and bankrolled the nascent Jesus movement in Asia Minor. Wealthy people such as Lydia, a purple-dye merchant. Others get name-checked for financial and material support such as Joanna and Susanna. There was no word “deaconess” in the early Church, only deacons, and Phoebe was one in Rome, to whom St Paul wrote. These were the very foundations, the cornerstones on which women’s priesthood was built. I couldn’t be a priest in a Church that didn’t ordain women. 

But, again, that only gets us so far. It doesn’t tell us what is distinct about women’s witness, let alone women’s episcopacy. For that, one might need to look to the tradition of medieval mysticism, women such as the anchoress Julian of Norwich, or Margery Kempe whom she mentored. When the latter wasn’t annoying everyone by wailing in ecstasy (the “gift of tears”), they and others opened a via feminina as a route to encountering the godhead. 

The self-sacrificial nature of Christ was consequently co-extended, along with the foundational figure of Mary and the divinity of her motherhood, with nurturing and the bringing forth of new life. The Church Fathers couldn’t hold on forever to gender specificity (though it took long enough) and the women brought us a more holistic experience of the divine.  

It may be that a first woman Archbishop of Canterbury has to step up to this plate. No pressure then. What I think I mean is that there is a distinctive and authentic thread of women’s witness throughout history. So this isn’t just about a historic moment for women, it’s about womanhood. When Teresa of Avila founded a tradition of reformed Carmelite monasteries in the 16th century, she wasn’t just an indefatigable woman, she was standing up to and against the patriarchy of Rome. 

It’s anachronistic to call these Mothers of the Church feminists, but they point to the feminity of God and that is something ontological for Mullally to consider, not just a chromosomal novelty. It makes her job very different from the political sphere. From Margaret Thatcher to Kemi Badenoch, Angela Rayner and Shabana Mahmood, top political women have not exactly had to pretend they’re men, but have had to emulate them. Wisecrackers used to say of Thatcher’s all-male cabinet that she was the best man amongst them. 

That is not Mullally’s task. Women’s sacramental ministry is distinct from men’s and inauthentic if not lived as such. She needs to find a voice that is congruent with some of those mentioned above and it’s a prophetic voice, not simply priestly. 

To do so, she’ll need to break with the bureaucracy and managerialism of the Church, which led to our churches being locked up during the covid pandemic and the parlous state of its safeguarding, which cost her predecessor his job. Mullally led on both those issues. 

So this is a big moment for our Church, not just because she’s a woman, but for women’s prophecy. Can she do it? We hope so.     

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Review
Culture
Film & TV
Leading
6 min read

Great storytelling elevates this Star Trek hero to messiah status

Before Captain Kirk, came a compelling commander

Giles Gough is a writer and creative who hosts the God in Film podcast.

Captain Pike of Star Trek.
The other captain.

Last month saw the release of the third season of Star Trek: Strange New Worlds, the prequel series that follows the crew of the USS Enterprise before one James T. Kirk took the captain’s chair. Not only does the show have the heady mix of fun and serious subject matter, it also has something quite rare for Star Trek; a messiah figure. 

Ever since its first airing in 1966, Star Trek has presented a utopian view of the future. The show’s creator, Gene Roddenberry created a world where humanity had grown up and had moved past its petty squabbles. In Roddenberry’s twenty-third century, prejudices around race, class or sex were non-existent. There were, however, some groups that could not get a look in. One topic that got very little representation was sexuality, the other was religion.  

Representation of differing sexualities would become something that Star Trek would eventually excel at depicting. Religion, however, has not fared quite so well. Star Trek’s staunchly secular universe is clearly a reflection of Gene’s views. What is interesting though, is the way that in a franchise so resistant to even the idea of God, is how concepts related to him seem to seep into the storytelling. The use of a Messiah figure, specifically a character who sacrifices their life to save others is hardly new in Star Trek. At least two captains come to mind. But there is something particularly novel about Captain Christopher Pike.  

For those who are in need of a bit of trivia, Pike, not Kirk, was the first captain of the Enterprise to be depicted. In an unaired pilot, Captain Pike is portrayed by matinee idol, Jeffrey Hunter. This captain is seasoned, world weary, and very serious. Perhaps a little too serious as the network at the time didn’t like the show in that form. They did however, take the unconventional step of ordering a second pilot, which was lighter, and more colourful in tone. Reports differ wildly as to whether Hunter quit or was fired, but one way or another, he did not return to reprise the role of Captain Pike when the show went to series. Instead, the character of Pike was replaced with James T. Kirk, played by a young William Shatner.  

This then presented the show with a problem. The production company had an entire episode’s worth of footage costing $645,000 (around $6.5m today) that was unusable in its current state. The novel solution to this problem was to write a framing story where Spock mysteriously commandeers the Enterprise and kidnaps now Fleet Captain Pike. When Spock turns himself in for court martial, he presents video footage in his defence. Footage which just so happens to be selected shots from the unaired pilot. There was just one problem with this. Jeffrey Hunter was unavailable for filming, so they had to cast another actor in the role. As the episodes would show Jeffrey Hunter’s Pike on screen, it would make the recasting look obvious. So actor Sean Kenney was slathered in burns makeup, put in a restrictive wheelchair and only able to communicate through a series of beeps, with Roddenberry writing in an explanation of how Captain Pike had been seriously injured in an explosion on a ship saving some cadets, and was now suffering from ‘locked in syndrome’. 

When Star Trek: Discovery’s second season came around, they chose to include characters such as Captain Pike (now played by Anson Mount) and Spock (Ethan Peck) to serve as a backdoor pilot for Star Trek: Strange New Worlds. Rather than steering clear of the convoluted backstory, they leaned into it, having a confident, able-bodied Pike receive a premonition of his own terrible fate. He is told at the time that he can escape if he gives up, but if he goes ahead in completing the mission, it will seal his fate. In that moment, Pike rallies himself by saying: 

“You’re a Starfleet Captain, you believe in service, sacrifice, compassion and love. No, I'm not going to abandon the things that make me who I am because the future…it contains an ending I hadn't foreseen for myself”. 

Discovery simply had too much plot in it to resolve Pike’s story satisfactorily, so when Strange New Worlds launched, it gave Pike the chance to fully unpack his trauma.  

The first episode of Strange New Worlds sees Captain Pike considering retirement from Starfleet. After all you can’t have an accident in space if you never go on a spaceship right? However, he’s drawn back into captaining the Enterprise in order to rescue his first officer, Una, who is trapped on a primitive planet. After saving her, Pike resumes command of the Enterprise. Una is aware of Pike’s vision of the future, and is desperate to dissuade him of walking into a situation that will leave him so disfigured. At which point, Pike tells her he knows the names of all the cadets he saves on that day.  “Stay the course, save their lives” he tells her.  

In the season one finale of the show, Pike meets a young boy, Maat, who is eager to join Starfleet, and Pike realises he is one of the cadets that he is unable to save. He is about to write a letter to the boy, trying to tell him about his future, when a future version of himself arrives. Throughout the course of the episode, Pike learns that if he avoids his fate and stays in command of the Enterprise, he will inadvertently start a war with the Romulans that will result in Spock’s death.  “Every time we change the path, he dies” his future self tells him. This furthers Pike’s resolve to stay the course.  

When viewed through this particular lens, Captain Pike’s story in Strange New Worlds is in effect, one long extended Garden of Gethsemane scene. In both cases we see a man, fully aware of the impact his sacrifice will have for the future, but at the same time, still feeling nervous, scared, and wanting to reject the bad hand he’s been dealt. But in both cases, both Jesus and Captain Pike recommit themselves to their mission and their fate. There are no shortage of heroes in sci-fi/fantasy, who sacrifice themselves in the heat of the moment. But a character who has multiple chances for escape, one who has time to consider the torturous weight of his own destiny, and still decides to go through with it? This elevates the character from a simple ‘hero’ to a ‘messiah figure’.   

As a result of this, watching Strange New Worlds has now taken on an experience similar to watching The Chosen, the multi-season show centred around Jesus and his disciples. Both shows have an effortlessly charismatic central character who leads those around them with grace and humility, and the more you fall in love with these characters, the more you’re reminded that something absolutely horrendous is going to happen to them. Whilst we know it must happen, it still makes us anxious at the thought of going through it.  

Over thirty years since Gene Roddenberry’s death, it’s hard to tell what he would have thought about the evolution of one of the first characters he wrote for Star Trek. On the one hand he might have rejected it out of hand for its parallels with the story of Jesus, a religion he disdained. Or he might just love it for what it is; really, really good storytelling. 

Support Seen & Unseen

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If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
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