“And the Word was made flesh, and dwelt among us full of grace and truth” – and so history began; the beginning of the perfect expression of the unchanging doctrine of the Church of God.
Turkey, gifts and – at least in my case – cigars are only incidental to the Birth of our Lord, and so I want to move past these things for this sermon. Other Holy Days in the Christian calendar are observed appropriately; Palm Sunday involves the distribution of palm crosses; Easter Sunday is when the Gloria is sung following its omission during Lent to mark the joyous occasion of the Resurrection of Jesus. So it is odd how many Christians mark Christmas with elaborately decorated trees, bright lights and lavish family gatherings, when the first Christmas celebration was meek, drab and in a stable.
We know through Scripture in the second chapter of Luke that the Christ spent his first hours in a stable, likely an unpleasant place to be for Joseph and the Blessed Virgin Mary – especially given how she had just given birth, and probably desired animal-free peace and quiet. Not only this, but on that same night three scruffy, ritually unclean shepherds arrive unannounced, excitedly, and very interested in the newborn Jesus. Contrary to popular belief, the Magi, or the Three Wise Men, did not arrive on the same night, and not at the stable, as the Shepherds. The 19th-century Bishop of Wakefield Walsham How wrote in his commentary on the Four Gospels that it is best to suppose that the visit of the Magi took place “at some period after the Purification and Presentation [of Jesus] in the Temple”, especially given how King Herod ordered the deaths of children aged up to two years when he had heard the Magi had not delivered Jesus to him. The gifts of gold, frankincense and myrrh associated with Christmas through the Magi were then not actually given on Christmas itself, making the day of the Birth of Jesus seem all the less glamorous. In other words, it was simple.
None of the aforementioned scripture is that which is appointed to be read on Christmas Day in the Book of Common Prayer; the Gospel reading is from John 1, beginning at the first verse. Returning to Bishop Walsham How, his commentary on the context behind the Gospel according to John reveals that as one of the Apostles closest to our Lord, John sought to “record the deeper spiritual truths” for more mature Christians. There is no better example of this than the reading for Christmas Day.
John’s Gospel talks of “the Word” in the beginning (the beginning before all time and creation which is eternal), and this is a term that has caused controversy. The roots of the Gnostic heresy were, in part, down to the understanding of who or what the Word of God is. Some believed that Jesus Christ is not the Word, and others believed that the Christ is a lesser being delegated to rule over us by a supreme god. John makes true doctrine clear throughout the passage: the Word was with God; the Word was God; all things were made by Him; the Word became flesh in Jesus Christ.
The several points made by John illustrate the crucial Father and Son relationship in the Trinity. The Word was with God to show that the Word is distinct and a person, not a mere attribute, but the Word is God to show that person is still very much God. This has always been so, as demonstrated in a parallel with Genesis when it is said that all things were made by Him. The Word of God is not some new creation – He has always been – but the Word did come into the world as a man at a certain point. It is by understanding John’s first chapter that we Christians can fully understand the Nativity.
Other prophets, such as Jeremiah, had births of special note to God, but there had been none up until now of this sort of significance. The person who had created everything, formed mankind and was the true, perfect expression of God’s Will became incarnate in an insignificant little stable, in one of many towns that people were moving to in order to register for a census. As mentioned earlier, the birth was simple in many respects, and it may feel odd to decorate Christmas with bright lights. Is this the full picture of Christmas, though?
St Luke tells us that angels appeared to the shepherds praising God and singing, and that they glorified the Lord. This day was almost certainly a day of celebration for them; the Angel of the Lord himself said that the news will bring “great joy”, though this was not the case for all. The Birth of Jesus caused a great stir in Jerusalem, and there was no-one more worried than King Herod about what he saw as a challenge to his earthly power. By both metrics of joy and fear, the Birth of the Christ was in no way insignificant for the world. The coming of the light of the world should be a time for great, significant joy and events – gathering families and enjoying the warmth of the Lord. Jesus’ Nativity was a simple affair, and yet it appears that we should mark this simple event elaborately.
The point was not to demonstrate to us to have an unpleasant birthday, or some more ludicrous interpretation, but that from such a humble nativity a Saviour was given to us. From a stable in Bethlehem, the years are dated and Christ’s Kingdom spread across the world – how greater will the greater Second Coming, in glory descending from the clouds, be? The anticipation for the Second Coming mirrors the anticipation one holds during Advent; perhaps we can use this time to reflect upon our own enthusiasm for this annual church festivity, and apply it to the wider wait for the coming judgement, when the faithful will be brought to Heaven.
As we, especially us in the more traditionalist churches, celebrate in the same way every year that God came to save us at first as a poor, helpless babe, let us reflect in the words of the Epistle for Christmas day reflecting on the temporal world; “they shall perish, but thou remainest; and they all shall wax old as doth a garment; and as a vesture shalt thou fold them up, and they shall be changed; but thou art the same, and thy years shall not fail”. Go forth, be merry, and remember that the Christ, your Saviour Jesus, came to this world to save sinners. Amen.
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Britain Is No Longer a Land of Opportunity
A recent viral tweet showed two doctors leaving a hospital. They’ve surrendered their licenses to practice medicine in Britain and are instead heading off to work in Australia. It’s not unusual- the majority of foreign doctors in Australia are Brits. The problem lies in the fact that young, educated doctors do not see themselves thriving in Britain. Our pay and conditions are not good enough for them.
Are you annoyed at them for being educated through taxpayer funding before going abroad? Many are. Are you understanding as to why? So are others.
Whilst this particular tale does come down to problems with the NHS, it’s also an example of what is wrong with Britain at the moment. People, especially younger ones, haven’t got the opportunities that they should have. There is no aspiration. There is a lot to reach for and not a lot to grab.
What has happened?
Wages and Salaries and Income, Oh My!
A recent investigation by a think tank has revealed that 15 years of economic stagnation has seen Brits losing £11K a year in wages. Let’s put this into perspective. Poland and Eastern Europe are seeing a rise in GDP- Poland is projected to be richer than us in 12 years should our economic growth remain the same. The lowest earners in Britain have a 20% weaker standard of living than Slovenians in the same situation.
That’s a lot of numbers to say that wages and salaries aren’t that great.
By historical standards, the tax burden in the U.K. is very high. COVID saw the government pumping money into furlough schemes and healthcare. As the population ages, there is a further need for health and social care support. This results in taxes eating into a larger amount of our income. In fact, more adults than ever are paying 40% or above in taxation. It’s a significant number. One might argue that this does generally only apply to the rich and thus 40% is not a high amount for them, but is that a fair number?
With inflation increasing costs and house prices rising (more on that later), a decent standard of living is beyond the reach of many. This is certainly true for young people. With wages and salaries falling in real time, we do not have the same opportunities as our parents and grandparents. Families used to be able to live comfortably on one wage, something that is near impossible. Our taxes are going on healthcare for an aging population.
Do we want old people to die? Of course not. We just do not have the benefits that they did. Our income is going towards their comfort. Pensioners have higher incomes than working age people.
Compared to the United States, Brits have lower wages. One can argue that it is down to several things- more paid holidays and taxpayer funded healthcare. That is true, and many Brits will proudly compare the NHS to the American healthcare system. That is fine, but when the NHS is in constant crisis, we don’t seem to be getting our money’s worth. The average American salary is 12K higher than the average Brit’s. The typical US household is 64% richer. Whilst places like New York and San Francisco have extortionate house prices, it’s generally cheaper across the US.
Which brings us onto housing.
A House is Not a Home
Houses are expensive- they are at about 8.8% higher than the average income. This is compared to 4% in the 1990s. That itself is an immediate roadblock to many. Considering how salaries have stagnated, as discussed in the previous section, it’s only obvious that homeowning is a dream as opposed to reality.
Rent is not exactly affordable either. In London, the average renter spends more than half of their income on rent. Stories of people queuing for days and landlords taking much higher offers are commonplace.
House building itself is not cheap- the price of bricks have absolutely rocketed over recent years. Factors include a shortage of housing stock and increased utilities. House building itself is also not easy.
NIMBYs have an aneurysm at the thought of an abandoned bingo hall being turned into housing. MPs in leafy suburbs push against any new developments, lest their wealthy parishioners vote for somebody else. Theresa Villiers, whose constituency sees homes average twice the U.K. mean price, led Tory MPs in an attempt to prevent house building targets.
We get the older folks telling us that we just need to work harder. It’s easy for them to say, considering a higher proportion of our income is needed to just get a damn deposit. If we’re paying more and more of our income on rent, how can we save?
Playing Mummy and Daddy
The ambition to become a parent is something many hold, but it is again an ambition that is unattainable. Well, the actual having the child part is easy, but it’s what comes after that makes it tough.
Firstly, we cannot get our own homes. Few want to raise their children in one bed flats with no gardens. To plan for a child is to likely plan a move.
Secondly, childcare is very expensive. Years and years ago, men went to work and women stayed home with the children as a rule. Of course, that did not apply to the working class, but it was a workable system. Nowadays, you both have to work. Few can survive on a single income from either parent. Grandparents are often working themselves or simply don’t/can’t provide babysitting duties. This leaves only one choice- professional childcare. The average cost of childcare during the summer holidays is £943. Some parents pay more than half of their wages on childcare.
Thirdly, as has been said, everything is more expensive these days. One only has to look at something basic like school uniforms- some spend over £300 per child. It’s not cheap to look after adults, let alone children.
The Golden Years
The focus of this piece is generally on young and working age people, but the cost of social care is pretty bad. With the costs of home and residential health care increasing constantly, it means that many will lose their hard earned savings. Houses must be sold and pensions given up. It is unfair that we must work all of our lives but then leave nothing for our children if we wish. Whilst residential homes are alien concepts to many in cultures where they look after the elderly, many factors in the U.K. mean that it is more common.
On balance, pensioners are better off than the young, but what about those who need care? It may be bad now, but what about when we ourselves are old? We will likely still be working at 70 and having to pay more for our care.
The Party of Aspiration and 13 Years of Power
The Conservatives have always called themselves the party of aspiration. They’ve been in power for 13 years, eight of which were without a coalition party. The Tories won a stunning majority in 2019 under Boris Johnson. They’ve had the opportunity to do something about this but haven’t. It’s amazing that they wonder why young people don’t vote for them anymore.
Let’s not pretend Labour and the Lib Dems are any better either. The Lib Dems won the historical Tory seat of Chesham and Amersham partially by appealing to those worried about new housing. Labour’s plans aren’t particularly inspiring.
We cannot dream in Britain anymore. The land of hard work and fair reward is no more. We must simply sit by as our wages stagnate, houses get too expensive and the opportunity for family passes us by. Our doctors head to Australia for better pay and better conditions. Countries that would see immigrants come to us for a better life are seeing their own economies grow.
People shouldn’t be living with roommates in their 30s when what they want is a family. We deserve to work hard to secure a good future. We don’t deserve for our income to go on poor services and for our savings to go on residential care.
The Tories have had thirteen years to sort it out. Labour and the Lib Dems have had chances to put their plans across. Our politicians care more about talking points and pretty photo ops than improving our lives.
Let us have ambition. Let us seek opportunities. Let Britain be a land of opportunity once again.
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Modern Feminists and the Anti-Bildungsroman
Over the recent decade, we have seen a certain type of storyline rise to popularity among critics. The plot usually follows a female character with some type of special power or circumstance who, by virtue of said power, is beset by some type of related conflict; sounds normal enough—this is the beginning of virtually every story.
However, in this case, the conflicts that develop around said heroines’ uniqueness do not always follow their growing or learning how to ethically or effectively use their power. Instead, it’s the opposite: their stories or the cultural interpretation thereof often involve the discovery, decision, or insistence that they do not have to grow or learn, but that it is society or the surrounding world that must adapt to and accept them. From Elsa, to Carol Danvers, to Rey (it cannot be stressed enough) Palpatine, some of the most lauded heroines in current media have followed this type of storyline—which, due to the the ways the characters interact with their settings and conflicts, involves several tropes of a common story type, the bildungsroman.
However, the plot structure and underlying tone of the aspects emphasized as worthwhile by critics classify them as an attempt to form a new genre: a kind of anti-bildungsroman that, in line with the beliefs of the modern feminism that usually advocates said storyline type, actively seeks to subvert the assumptions of the individual’s (here, the individual woman’s) relationship with the broader social structure. The execution of this storyline ironically does the female characters—and stories with female leads generally—several disservices that run counter to the stated goals of those behind the stories.
The Bildungsroman: what it is and what it isn’t.
Just for a refresher, a bildungsroman—German for “education novel”—is a story that intertwines the character’s ethical, psychological, and spiritual growth with the resolution of the conflict. Alice’s Adventures in Wonderland is as much about Alice’s learning not to behave like all the examples of toxic femininity she encounters through the story as it is actually getting out of the rabbit hole. Harry Potter learns as much about how to be a responsible young adult as how to actually cast spells (with the when and why invariably outweighing the what). The bulk of Aang’s story in Avatar: The Last Airbender involves not his learning how to use his powers as the Avatar, but his learning not to be a childish idiot who sticks his foot in his mouth at every turn. And who can forget Uncle Ben’s injunction to Peter Parker (established by Spider-Man: No Way Home as a theme that transcends the multiverse) about power and responsibility? It’s become nearly as iconic a scene as a still novice Luke Skywalker running through Dagobah with Yoda on his back, with nary a trickle of Force to be discerned by the anticipating audience.
In each of these, the external conflict is resolved and made more complex and dramatic by the character’s resolving some type of inner conflict—usually involving the growth from maturity to immaturity, selfishness to sacrifice, idleness to responsibility, &c.
Now, not every story is or needs to be a bildungsroman. We don’t always need heroes that change or grow—sometimes we need the opposite! It’s no coincidence that Conan the Barbarian and Superman, both unique because of their unchangeability, came out of the flux of the 1930s, when the average Joe, Jane, Jimmy, or Jill might rather enjoy a character who stands in opposition to the instabilities and shiftings around them.
There are many other examples of changeless characters coming out of changing times. The Lord of the Rings—specifically, Aragorn—came out of Tolkien’s effort to preserve English virtues and history through the trauma of values that were the Great War and Modernism (though, granted, Aragorn did a lot of growing up before Frodo receives the Ring). Later in the twentieth century, James Bond stood like a modern Conan (the parallels between their stories and characters are many, despite the obvious differences) amidst the unease of the Cold War. Nor does it always need to be so dire as these: in the ‘90s, Forrest Gump’s charm often inhered in how his simplemindedness showed how the problems around him might really have simple answers (at least within the bounds of his film), and the Dude of mistakened Lebowski fame would not be His Dudeness if he grew through his misadventures.
I list these to head off any claims of my placing standards on the female characters discussed below that I won’t apply to male characters. This is also why, other than this sentence, I won’t use the oft-bandied phrase “Mary Sue;” besides simplifying the argument into mere stereotypes, the phrase, or its male counterpart Gary Stu, implies that strong or unchanging characters are always bad or always lack depth. They may very well be, but my interest is not to simply descry it but to find out why. I come at the topic and characters below with one goal: to encourage complex characters and stories that do what we need art to do—to concretize the values we need to experience at a given time in ways that are timeless. Sometimes that can best be achieved by characters that grow, sometimes not; usually we need iterations of both simultaneously—often in the same story.
But the stories I’m focusing on do assume the complexity of a bildungsroman framework; in each case, the female character is placed in a situation where she is expected by society (and, often, the audience) to grow and she either flatly refuses to do so, or she grows in ways counter to her respective canon. In fact, the characters often self-consciously push against and subvert the canonical expectations for growth in various ways.
Elsa: Letting Go of Past Story Structures
The phenomenon that was Frozen was hailed by many as a deconstruction of the archetypal Disney princess story. Its setup follows many tropes of said genre: a girl of unique birth locked away by parents to prevent a misuse of her powers. However, from there the movie breaks the tradition of stories as late as Rapunzel (2010), which, itself, broke several tropes while adhering to familiar formats. Parents? The uredeemed source of her abuse. Prince charming? Actually the villain. The protagonist’s powers? To be used without compunction after letting go (of expectations? Of the need for self-control? The unnamed antecedent of her song’s Dionysian “it” is as multifarious as the audience might wish).
It would be wrong to say Elsa experiences no growth or argue her character lacks compelling internal conflicts. After going to live alone on her mountaintop (notably embodying several characteristics of the traditional ice queen villain), she does come down and remit her isolation upon learning that by embracing her powers she has caused an eternal winter in Arendelle. Furthermore, not all of the movie’s deconstructions are negative. While the ending of stories in a marriage signifies the restored balance and completion of comedy—and is much more than merely reducing the female to an ornament of the male and his restored power structure, as the format’s feminist critics allege—Frozen’s replacing the familiar eros-driven love story with one of phileo between sisters should be welcomed as an expansion of the virtues and values we enjoy being explored. However, from there we are faced by the irony that the same voices who push the “sisters > prince charming” dynamic often insist on seeing eros in any story featuring two male friends—an unfortunate sexist double standard…
My focus here on Frozen and the others is as much on the cultural response to the stories as the stories, themselves. The danger to Anna posed by her love-at-first-sight relationship with Prince Hans was not rectified by placing it against the authentic relationship with Kristoff; rather, the reversal of the form was turned retroactively onto all other Disney stories about love at first sight, which had the tone less of adding complexity that had never been established than of burning down the now malicious parts of what had. Finally, it was not a song about Elsa’s learning how to judiciously use her powers that every parent of kids of a certain age (or, let’s face it, young adults, too) had to listen to on repeat for the rest of 2013 and most of 2014. It was a song advocating the audience (especially girls) vicariously “Let it go!” along with Elsa. It was a kicking song, and I don’t begrudge any young girl for making her parents want to break a speaker because of it, but it did, thematically, set the ideological perspective and tone for latter heroines that would come after.
Rey Palpatine: A Victim of her Advocates
The next female character who declines to grow in ways prescribed by her lore is Rey Palpatine. Establishing Rey’s arc or lack thereof is difficult due to her appearing in three films with different directors with conflicting goals for her movies. The lack of unified vision, added to the retconning the trilogy exacted on the established Lucas canon and universe, makes it difficult to treat Rey’s plot either as a uniform whole or as a consistent intentional decision to buck expectations.
Nonetheless, against the backdrop of Luke’s growth under Yoda Rey’s development falls short. While Luke’s progression is drawn over two, if not all three, of the original movies, Rey is able to, for example, beat Kylo Ren the first time she touches a lightsaber. This could be possibly excused if, like Anakin, she were shown to have a high concentration of midichlorians and, thus, a more preternatural adeptness with the Force; however, such a reveal, set up by Abrams in The Force Awakens, was rejected by Rian Johnson in favor of making her a nobody in The Last Jedi (a more vicious crime against Star Wars lore than simply creating a new heroine backstory—or, really, refusing to—might necessarily entail). Abrams, then, had to pick up the pieces in The Rise of Skywalker to make what he could of Johnson’s arson. Central as it is, Rey’s disjointed arc is by no means the only problem with the new Star Wars trilogy.
Enough has been written and recorded about the canonical breaks between the original and the prequel trilogies and Rey’s that I don’t need to belabor the differences. Furthermore, many of Rey’s lacks can be explained, and possibly excused, by acknowledging the directorial conflicts of the trilogy. However, this does not excuse how Rey’s character was marketed: she was, we were often reminded, a female heroine, and that to reject her and all the incongruous elements of her story, even for the sake of preserving the larger Star Wars universe in good faith, was nothing less than sexist bigotry resulting from an irrational fear of strong women (which, strangely enough, had not reared its head in response to any of the other strong, complex females in the Star Wars universe).
The insistence among Rey’s defenders that she is a prime example of both a strong female character and a victim of unfair bigotry unfortunately sets the bar quite low for what is considered a good character—besides disregarding a devoted fanbase who were already invested in finding in the star of the revival trilogy as much depth as they could. Again, my focus is less on whether Rey consistently grows (if she does, it is disjointed due to director disagreements and rushed in a “tell rather than show” kind of way—a sin for character development of any genre). At issue here is the implied insistence that she should not have to grow—that standards of growth from a previous canon are at best an unfair standard and at worst a reactionary response from a threatened tradition of supposedly (but, as fans know, not really) male lore and predominantly male audience against a new heroine. That Rey’s greatness, thus, relied on the spectre of sexist pushback for its vitality and clout did not strike anyone as an issue to be worried about.
Carol Danvers: The Unrestrained Will
My final example of a heroine who rejects the complexity of growth prescribed by her own canon—and the one that does so most openly—is the adult version of Elsa, Marvel’s Carol Danvers. Begun in production as Elsa was gracing theaters, Captain Marvel (2019) added the element of the character’s rethinking her entire culture—of decolonizing her mind, as it were—to the formula, providing her further justification to eschew the self-control and prescribed growth of the traditional superhero story.
Danvers’s story begins with her training opposite Jude Law’s Yon-Rogg, who is preparing her to be a Kree warrior. It is against his mentoring admonitions to control her impulses and to use her head over her heart—and to become “the best version of yourself”—that the rest of her story takes place. Through the movie, she pieces together her disjointed memories to discover the Kree she is fighting for against the Skrull are actually the baddies, and that she is a human whose powers come from Kree technology she destroyed but which Yon-Rogg and the civilization’s Supreme Intelligence AI are trying to still utilize in her.
For the present I’ll ignore the fact that the movie reduces the 1970s “Kree-Skrull War” match between two bloodthirsty races in into a one-sided genocide of the Skrull by the Kree that resembles less the source material and more the modern revisionist simplifications of history into binaries between rapacious, patriarchal colonists and innocent, victimized indigenous. At issue here is that the heroine discovers, in a reverse-brainwashing sequence, that she has actually been misled (gaslit, brainwashed, Stockholm syndromed, all the common terms) by the Kree, and that her assumptions and even her own mind are complicit with the evils of the Kree. She must, thus, decolonize her worldview as she works out whence she got her powers—which, upon learning she gained them through an attempt to save the Skrull, could be used without any moral qualms about their being created by the antagonists.
Within the bounds of the movie, it’s a compelling conflict, and one which does necessitate Danvers’s rethinking and rejecting Yon-Rogg’s inducements to use her powers in what the Kree would say were the right ways (but which are, in reality, against her practical and ethical interests). However, it is not, technically a character arc: rather, it is an anti-arc. Released from the usual inducement to meet power with self-control, or to clearly delineate between her power and her self (with the former always needing to predominate), Danvers simply uses her powers.
This results in some great cinematics that, I’ll admit, meet the desire for a decent action movie with a satisfyingly insolent protagonist. However, Danvers nonetheless loses a major potential character arc.
Even in the final moment with Yon-Rogg, where, in rejecting his last-ditch effort to manipulate her into fighting as herself without her powers (i.e. on terms in which he knows he can beat her), she simply blows him away, thus showing that he’s right: that she cannot control her impulses.
She claims she has nothing to prove to him, but what about to herself? This is, after all, one of the classic canonical superhero conflicts—where the line between self and power falls, which can provoke further questions of what can ultimately be relied upon, or how to maintain one’s self despite the changes brought by power. What about conflicts regarding the dependability of her newfound way of seeing the world, a major question in a movie where the inability to trust reality (brainwashing Kree, shapeshifting Skrull, etc) is a common motif? No, once she gets woke to the Kree, Danvers never questions her new episteme. Why allow internal conflicts to burden her character with unnecessary complexity—especially when we can resolve all the movie’s external conflicts with unlimited girlboss power, smashing the patriarchy—err, the Kree—with their own tools, instead?
This lack of reflection on her powers is a major part of what makes Danvers’s character flatter than either Elsa’s or Rey’s. Both of them at least experience doubt regarding their powers and their relationship to them and their relative place in the world. However, as if stuck in Elsa’s famous song, Danvers’ climactic embracing of her powers keeps her in a third-act moment of what could have been a five-act growth arc.
There is also the unadmitted Superman paradox.
The Superman paradox arose when writers realized an all-powerful being could have no serious conflicts—and, therefore, no compelling story. His creators had to steadily introduce kryptonite to keep him interesting. Presumably her creators knew of this but didn’t think it would apply.
It can certainly be argued that incorporating both an awakening embrace of power and an overcoming of weakness to that power would be expecting too much—and trying to include two major conflicts in one movie. However, completely eschewing any real weakness (Danvers’ conflict involves her adopting and subsequently rejecting weaknesses she does not intrinsically have, which are accidental and, thus, ultimately unserious as conflicts) still sets a low bar of complexity when most superhero movies include some sort of chink in the hero’s armor for future exploration. Danvers’s embracing of her powers is so wholly untainted that, as cathartic for some as the final sequence may be (complete with her acquiring the ultimate symbol of freedom, flight), the seeds for future growth or reflection—the marks of a hero’s staying power—are, sadly, lacking.
[1] Feminist Heroines: A Rejection of Complex Females
None of this is to deny that Elsa’s, Rey’s, or Danvers’s movies are entertaining and have devoted, good-faith fanbases. As with the unchanging heroes I mention above, people can and should enjoy what they like and feel they need. However, this leads to my qualms with the idea of a character type that shouldn’t have to grow in expected or sympathetic ways. Among other things, I fear the contention that traditional complexity and character growth are arbitrary impositions meant to reject characters because of their femaleness will result in less complexity in female characters, as well as create, in a self-fulfilling prophecy, an antipathy or apathy among audiences towards new female characters—not because they are female, but because they are simple.
However, so long as a certain brand of feminist critics assume that all efforts to mold a female character according to a broader ethical framework are, really, a patriarchal attempt to keep women down, we will continue to get simplistic stories and morals thereof like these. This should not surprise us. The same critics who hold to this implicitly Marxist reading of traditional story structures interpret Pride and Prejudice as an anti-woman novel because it suggests some of Elizabeth Bennet’s problems can only be fixed by personal reflection and reformation—i.e. because the novel is in part a bildungsroman—despite her embodying most of the same traits of their stated favorite heroines (even those discussed above!). If that is how such critics interpret a thoroughly complex character arc, we should not hold out hope for better from them or from studios working to satisfy them as an audience.
So, what should we do? For one, we should flatly deny the accusations that disliking an individual character equates antagonism or bigotry against an entire category; besides employing an irrefutable denial of moral legitimacy, it tries to shoehorn a Marxist reading that sees individuals as merely instances of their group or class. In trying to save characters from simplicity, we should also fight the simplification of critique.
When stories or characters come out that do, indeed, participate in complexity in some way, we should promote them. This may mean being open to new reworkings of stories (on that note, I had originally included The Legend of Korra above, but on further reflection and research of perspectives, I decided the Avatar Korra does grow in ways consistent with the precedents of the Avatar universe that I had not considered before). While above I critiqued the characters for breaking from their canons, it can be equally damaging for story to never stretch what has already been. The best stories will, in my view, resurrect familiar elements of their canons while showing that new arcs are still possible therein. So, we should vote with our pounds, dollars, and online engagements to show at least the less ideology-driven studios that complexity of story matters to audiences more than character identity politics.
A converse of this is to reject stories built around transgressive or socially deconstructive elements, and to educate ourselves on why such things do not and should not be privileged as equally valid views or stories (being anti-stories) in the marketplace of ideas—especially when those who promote them would not and are not extending the same toleration to the rest of us.
Finally, as we at The Mallard have advocated and tried to put into practice, we should create the things we want to see. If nothing else, this will help us understand how to interpret the other art we consume. Complexity is difficult, and accomplishing it subtly and succinctly is even moreso. It might discredit me as a writer to put it in print, but I had to cut 250+ pages of my novel Sacred Shadows and Latent Light, most of which was backstory and characterization. Necessary for fleshing out my characters for myself, but not inherently necessary for developing the book’s conflict. The experience paradoxically made me more sympathetic but also less yielding when it comes to character depth. I hope I’ve shown both above in my treatment of characters who have, in theory (certainly in budget), better writers than I behind them.
[One aspect of Captain Marvel that is only peripherally related to Danvers’s relationship with her powers, but which nonetheless aligns with the eschewing of usual self-control progression, is her treatment of the minor male characters in the film. Danvers has the perfect excuse to treat new people with suspicion, and, perhaps excepting Stan Lee on the bus, she enjoys it—from ____ to committing theft grand auto. Of course, the trope of an apparent alien not conforming to local property laws goes as far back as Thor (and, of course, farther), but the undertone here is that the theft is justified in response to the man admittedly creepily asking Danvers for a smile. She later shows that her default to rudeness is not a casualty of her untrusting circumstances: she responds to someone as unthreatening as Tom Holland’s Peter Parker in Avengers: Endgame in as insolent a manner as she does to the characters in her movie—an indecency for which I have not been able to forgive her.]
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A Sensible Centrist’s Guide to Hope Not Hate
Hope Not Hate is a self-described “anti-fascist” pressure group based in the United Kingdom. It was founded in 2004 by communist-affiliated Nick Lowles after the antecedent group, Searchlight, of which Lowles was a co-editor, abused its charitable status by engaging in political activism.
This group markets itself as a “charitable organisation,” that claims “non-sectarian” and “non-partisan” status but is free as a private limited company to disseminate biased political messaging, maintain close ties to Labour, other far-left NGOs, and cooperate with the British civil service.
By leveraging their claimed neutrality, Hope Not Hate has been able to disseminate exclusively anti-right-wing editorial content under the guise of a broadchurch “anti-extremist” mission. To do this, it employs motte-and-bailey argumentation that blurs any distinction between “anti-extremism” and “anti-fascism”.
They conflate these two terms and seamlessly switch between them depending on the situation and context. This muddying of the waters allows the organisation to effectively ignore any and all other forms of “extremism” such as the genuine threats to life posed by radical Islam, which by an overwhelming margin, remains the most significant domestic threat to the UK.
Differences over this state cooperation led to the official divorce between Searchlight and Hope Not Hate in 2011. However, principally, these two organisations remain ideologically synchronous, and each continues to maintain a far-left bent, a facet well reflected in Lowles’ track record of Zionist, communist, and anti-national collaboration.
In early 2019, shortly before the suspension of Labour MP Chris Williamson, Lowles offered his support to and called for the party to adopt policy from the Jewish Labour Movement, formerly known as Poale Zion. It is a Marxist-Zionist movement that precludes non-Jews from full membership.
Despite touting democracy as a core value, Hope Not Hate has previously collaborated with “Best for Britain,” an anti-Brexit campaign that sought to overturn the result of the 2016 EU referendum, before rebranding as an “internationalist” political group.
Additionally, there is a prolonged history of cooperation between the various arms of the state and so-called ‘research organisations’ like Hope Not Hate and Searchlight. They have received funding from a variety of sources, such as NGOs, trade unions, and even directly from the Home Office; funding rubber-stamped directly by the Conservative government; funding used to bitterly slander them in a humiliating display epitomises the self-flagellant nature of the Tory government, entirely submissive to these kinds of organisations.
One must ask, why? Why has Hope Not Hate been receiving government funding from the Home Office? To answer this question, we must establish that the transparent function of Hope Not Hate acts to delegitimise critical voices and attack unorthodox, non-regime-compliant sentiment through overt defamation and libel of opposition by peddling politically charged, partisan ‘reports’ and ‘investigations’ under the false guise of science.
A likely theory is that Hope Not Hate serves as a cutout for MI5, as there is a clear-shared incentive between the organisation and the UK’s intelligence machinery. By collecting information on private citizens, compiling it, and then repackaging and disseminating said information in the form of these dossiers and reports, a task that would fall outside their remit as an arm of the civil service, the shared incentive becomes clear. While the specific nature of their government fund remains unclear, it is ultimately irrelevant so long as those mutual interests remain in place.
Of these reports, Hope Not Hate’s most recent is the latest in a series of annuals titled “State of Hate,” which invoke ersatz, nonsensical claims about many influencers in the mainstream and online right whose alleged threat is underpinned by a manufactured notion of ‘the rising tide of far-right extremism’.
One notable target of Hope Not Hate’s vitriol is Neema Parvini, also known by his online handle ‘Academic Agent’, a published author, academic, and recent GB News feature who has been subject to a series of serious claims in the March report, which unjustly characterises his views as “extreme” and portrays him as a “far-right activist” who is “aligned with the scientific racism community”.
These claims are asserted wholly without evidence and serve only to directly contradict Dr. Parvini’s published works, who on the topic of race writes: “The evidence overwhelmingly suggests, despite typical variations in physical and mental abilities within groups, biologically speaking, people everywhere are essentially the same in their natural capacities, even if not wholly identical.” Further clarifying, “people vary much more within groups than between groups.” (Shakespeare’s Moral Compass, p. 55).
This issue is also addressed in Dr. Parvini’s latest work, ‘Prophets of Doom’, where he offers an alternative interpretation of de Gobineau’s Essai sur l’inégalité des races humaine, where the previous unscientific racial categorizations are replaced by poetic ideals entirely decoupled from notions of scientific racism.
These are the only two instances where Parvini nominally addresses the topic of race across a literary corpus comprising eight books in a career spanning 14 years of mainstream publication. In short, this is but one example of many poorly sourced, libellous, and defamatory claims published by Hope Not Hate that are entirely spurious and thoroughly illegitimate.
The 137-page report features an array of public figures, from “right-wing” Tories (as opposed to regular centrists and even left-leaning ones) to the most unserious and delusional of political players and pundits in the conspiracy theorist sphere. This is a not-so-subtle and underhanded tactic of false association that attempts to instil a cognitive bias in the reader. It sets out to discredit and delegitimise the opponents of these far-left-adjacent organs.
The publication make scant effort to separate elected members of parliament from former members of proscribed terrorist organisations, however the fact that both are contained within the same report is an inherently disingenuous tactic, and it is these groupings that are then paired with frequent appeals to the scientific sensibilities of their readership, leveraging first-hand survey findings and trendy, in-vogue design choices that lend a false sense of legitimacy to an otherwise entirely disreputable publication.
However, it is Hope Not Hate’s own survey findings that underscore a much deeper truth about how ignorant the political class is of prevailing thought; it exemplifies how they are becoming increasingly at odds with the British public, 48% of those surveyed agreed more than Britain’s multicultural society isn’t working and different communities generally live separate lives. The same percentage said they would favour having a “strong and decisive leader” over the existing liberal democracy, and 43% of Britons agreed the country is in a state of decline. They also claim a staggering 27% agreed that “globalist elites are encouraging immigration into Europe as part of a plot to weaken European identity.”.
If these figures are to be believed, this demonstrates in full the ever-growing misalignment and disconnect between an alienated population and their elected representatives. This was recently exemplified with yet another attack by Hope Not Hate that resulted in the immediate suspension of Beau Dade from the Reform Party following a hit piece in response to an article on reducing immigration. This shows even the mechanisms intended to contain right-leaning sentiment are failing and becoming increasingly visible. We now find ourselves in a situation where the most ‘right-wing’ mainstream party will instantly bend the knee to an organisation with the less-than-subtle intention of undermining their growing electoral prospects.
Through its actions and associations, Hope Not Hate is an organisation has shown to be deeply problematic, apparently existing to aid the British security state in delegitimising uncontrolled political opposition. It spreads falsehood, disinformation, and makes frequent use of deceptive linguistic tooling to those ends. At a deeper level, it serves to suppress the ongoing re-emergence of a more explicit English identity steeped in deep-rooted ethnocultural precedent; a process which contradicts the aspirations of the current elite, both in their prioritisation of minoritarian interests over the democratic will and international interests over the national interest.
