Review
Books
Culture
6 min read

Are we being anxious about anxiety?

Haidt's diagnosis of a 'doomed' youth is off. Instead, we should learn from them.
A child sits atop a bunk bed holding a phone in front.

It’s common these days to hear about social anxiety, health anxiety, or climate anxiety – but I think I can see that a new pathology is beginning to emerge: anxiety anxiety. This is where parents, politicians, academics, or just members of society in general, start to get anxious about the fact that everybody is anxious. Diagnosis rates of clinical anxiety have shown a steep increase in the past decade, and numbers, we assume, don’t lie.  

Of the many outcomes of ‘anxiety anxiety’, one is going to be people who (with the absolute best intentions) want to suggest solutions. One such person is Jonathan Haidt, with his book The Anxious Generation: How the Great Rewiring of Childhood is Causing an Epidemic of Mental Illness.  

From the spaceman on the cover to the opening vignette about sending our children to Mars, Haidt’s premise is clear: smartphones are the alien invaders of our society. These electronic parasites are feasting on the brain matter of our young people, directly causing what is now an epidemic of clinical anxiety and depression. 

I’m quite ready to read a sensible analysis of the impact of smartphone culture on mental health, so I was disappointed to find that Haidt’s book falls so far short of that. From a scientific perspective, the argument is a barrage of statistics, arranged to the tune of ‘correlation equals causation’. Given Haidt’s seniority in his field, this approach is surprisingly unsubtle, something which has already been heavily criticised by peer review. Numbers, it seems, do lie – or at least they can be easily curated to prove your point.  

But even if we accept Haidt’s point – which is that rates of smart-phone use (particularly social media) and rates of young people being diagnosed with anxiety disorders have increased over the same time period – what can be done? Haidt’s solution is to ban young people from owning smartphones at all until the age of 14, and from using social media until the age of 16, or even better 18. In this way, owning and managing one’s own device and its access becomes a rite of passage into adulthood. But note: whilst parents are urged to implement these unyielding boundaries for their children’s device-habits, Haidt does not ask grown-ups to make any changes to their own. Adults can continue with their current norms of smartphone use, ostensibly because their brains are fully developed, and they therefore have the maturity to handle their own risk to mental health.  

Smartphones are not aliens – they were designed by humans, and are willingly bought by humans, in response to the human need to communicate. 

Of course, it does not suit Haidt’s argument to analyse why adult mental health is also seeing an increase in diagnosis of anxiety disorders. It may be true to say that rates are rising more quickly amongst young people, but there is still no consensus as to how much of that can be attributed to young people simply being better informed about mental health and more empowered to seek help than the generations before them. Noticeably, young people today have a language to talk about anxiety that simply didn’t exist when I was a teenager in the 1990s, and ironically enough, it is social media that has made that possible. Although suicide rates are on the rise, they are still quite significantly lower among young people than they are for those aged over 35, and it should be noted that a proven pathway to suicide prevention amongst young people is access to self-help via smartphone apps.    

So whilst I am quite ready to believe that smartphone culture is one of many factors impacting the health and wellbeing of young people today, I think characterising smartphones as alien invaders, or as invasive parasites that have been selectively bred by Silicon Valley billionaires to infest the minds of our young people, seems to be a disingenuous response – and one that only serves to increase parental anxiety by implying that smartphones are sly, sentient beings, and out of our control. 

Smartphones are not aliens – they were designed by humans, and are willingly bought by humans, in response to the human need to communicate and a perfectly natural human desire to seek out entertainment and culture. True, technology and software are developed by billionaires, and marketing and algorithms can influence our choices – but at the end of the day, any developer will tell you that products only ever evolve in response to what the market demands. Adults: we have the money in our pockets; we are the market. 

As a more empathetic and intelligent generation, it seems they could probably teach us a few things about how to harness smartphone culture. 

In other words, we (the adults) selectively bred these ‘aliens’ ourselves – and rather than try (and no doubt fail) to lock up our experiment in a lab (or, as Haidt suggests, a lockable phone-pouch) we, the adults, have more than enough agency to continue that process of developing smartphones into devices that meet needs and provide entertainment in the way that they were always meant to do. In his defence, Haidt does refer to this approach briefly, but still only with a view to making the phones be for ‘us’ (the adults) and not ‘them’ (the young people) by removing content that appeals to a younger audience. To me feels like we are victim shaming the youth of today for the fact that they have inherited a problem created by their parents. 

One day when Jesus was teaching a crowd of followers, he advised them “Why do you look at the speck of sawdust in your brother’s eye and pay no attention to the plank in your own eye? How can you say to your brother, ‘Let me take the speck out of your eye,’ when all the time there is a plank in your own?” His point was about hypocrisy – it is far easier to judge someone else’s behaviour than it is to take responsibility for our own. Where did any of us last read or hear terrifying information about the decline in young people’s mental health? Was it on our smartphones?  

Here are a few things that Haidt’s selection of statistics doesn’t say about the youth of today. They are the most compassionate and empathetic generation that we have seen for decades (Konrath et. al., 2023). They are able to wait longer for rewards than their parent’s generation (Protzko, 2020), they are also less lazy, less narcissistic, more cooperative and more intelligent (Kriegel, 2016). In addition, whilst obvious damage is done by ‘filters’ on Instagram photos, making some young people strive for unattainable standards of beauty, it was the previous generation of smartphone users who began this trend, and it is the current generation of young people who can be credited with the #nofilter #nomakeup countertrends. This same generation is now fuelling the rise of insurgent social media sites such as Bereal, which emphasise the importance of authentic photos and meaningful connection with friends online.  

Overall, perhaps instead of restricting and controlling our young people’s online lives, as Haidt would have us do, we ought to be talking to them? As a more empathetic and intelligent generation, it seems they could probably teach us a few things about how to harness smartphone culture and develop it towards solutions to the problems that we ourselves created. 

Review
Culture
Film & TV
Justice
Race
6 min read

Rebel Ridge switches the code on corrupt coppers and body counts

An action movie tackling the all-time low trust in public bodies.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Two men stand off against each other, one holds a holstered gun.
Don Johnson and Aaron Pierre.
Netflix.

I wasn’t expecting to emotionally connect with this straight-to-Netflix action movie but Rebel Ridge is not a normal action film. It may be sitting at the number one position on the Netflix film charts, with its echoes of a classic Jack-Reacher-style thriller, but where it surprises and stands apart is in its challenging and nuanced handling of race, violence and corruption.  

Race 

Like Lee Child’s character Jack Reacher, Terry Richmond played by Aaron Pierre is a former US military officer. He is a private person, self-confident, respectful, comfortable with his own company and willing to go the extra mile to help a cousin who has got himself in a mess. Despite his lowly job in a restaurant, Terry happens to have financial means as well as expert survival and hand-to-hand combat skills. He is also Black.   

The opening sequence shows Terry cycling into a small town when he is accosted by two local – white - police officers. Suddenly the dynamic changes. The determined, self-confident, resourceful man becomes the downtrodden object of a series of abuses and injustices. Terry tries everything to deescalate the problem, without success. Nevertheless, he remains polite, referring always to the officers who deal with him as “Sir”, and finding things to thank them for.   

I found myself relating to this, remembering times that I have had to deal with abusive power and hoping that if I remain calm, polite and respectful, I could win the other side over. Some have called this “respectability politics” – the pressure on marginalized groups, particularly Black people, to behave in a manner that aligns with dominant cultural norms - including being overly-polite or restrained - especially in the face of abusive power or injustice. Another term for this is "code-switching," where minority groups feel the need to adjust behaviour, language, or appearance to fit into a different cultural context, often in response to systemic power imbalances.  

Terry tries everything to get out of his situation with minimum disruption. But things deteriorate so far so quickly that Terry realises that nothing he can say or do will allow him to extricate himself. Cornered in this way, he is forced to pursue justice by other means. 

It is hard not to see this film without remembering the death of George Floyd. That terrible incident in May 2020 highlighted racial disparities in policing in the US: 13 per cent of the American population is Black, yet they account for about 25-28 per cent of police killings each year. According to the Mapping Police Violence project, Black people are up to three times more likely to be killed by police than white people - between 2013 and 2022, about 7,000 Black Americans were killed by police. 

The UK’s police services have had to admit to similar disparities. Black people are seven times more likely to be stopped and searched compared to white people in England and Wales. In London, where stop-and-search powers are more frequently used, Black individuals make up around a third of all stop and searches, despite representing about 13 per cent of the city's population. From arresting, handcuffing, the use of taser, remanding in custody and more, data shows that racial disparities are evident across the service. These disparities undermine trust in the police service, which in turn can inhibit the cooperation and information sharing needed to reduce crime and protect citizens.  

The racial tensions that permeate the movie give viewers a glimpse into what it is like to be mistrustful of those who are supposed to help and serve us. As such it is a masterpiece in raising awareness of racism wherever it is experienced, and the fear and injustice that go with it.   

Violence 

Terry is huge, athletic and highly skilled. Like most movies of this genre, I was expecting the protagonist to be pushed to breaking point, thereby unleashing a wave of violence so severe and overwhelming that he becomes an unstoppable killing machine.  

In Taken, Bryan Mills, played by Liam Neeson, kills almost 100 people, mainly of Albanian nationality, by gunfire, strangulation and electrocution, on his quest to protect his family. In the more recent John Wick series of films, Wick, played by Keanu Reeves, a retired assassin, kills over 400 people in a wave of violence initiated by the theft of a car and the killing of a puppy. 

But Rebel Ridge is different. A key thread in the movie is the use of Escalation of Force–Non-Lethal Effects (EoF-NLE), meaning the use of verbal warnings, warning shots, non-lethal explosives and physical restraint tools like tasers or pepper spray that are supposed to minimise the risk of injury and death. In the film, the corrupt police officers have not only illegally raised money to buy this equipment they have also profited from renting out their EoF-NLE to third parties.  

Terry shows himself to be a different kind of hero, with a stronger moral compass than the police service as he uses their own EoF-NLE against them. On one occasion we watch as he loads and racks his gun, only to use it in self-defence. He is an avenging angel unleashed who refuses to kill people. There are plenty of showdowns, but the final total body count is one.  

Corruption 

Many action movies, Taken and John Wick included, contain little social commentary. Rebel Ridge, on the other hand, is prepared to tackle some significant social issues. The corruption around EoF-NLE and militarisation of local police forces is one example. The other questionable practice that gets much discussion is “civil asset forfeiture” - an anti-drug regulation that allows a police officer to seize cash and other valuables with no due process. Both issues as portrayed in this film highlight the wider question of accountability of policing, as well as the potential for corruption that comes with its absence.  

Indeed, it's not just about ‘bent coppers’ – the whole justice system is shown to be at risk in this film. The local judge is implicated in the corruption, and the state prison, as expected, fails to protect. The impact is pervasive. We see a conflicted black female police officer, a court worker struggling to get court support, and many others who stand idly by because they don’t seem to know what is right or good anymore.    

At a time when trust in public bodies is at an all-time low – this film, despite its non-violent and subversive tropes, presents to us a heroic rebel with a higher moral compass who goes against the flow and pushes back against the system to try and fix things. It may not restore faith in our society’s institutions – but perhaps it does restore faith in something else.  

Although the director, Jeremy Saulnier, claims Rebel Ridge was not based on a true story, I cannot help thinking of a true story that might have inspired it. I am reminded of Jesus Christ, the most famous rebel in history, who was killed in a showdown on a ridge outside Jerusalem for speaking out – lashing out even - against the corruption in the religious institutions of his time, for taking an anti-racist stance, and for living in a way that went against the flow.  It reminds me of the lengths he went to get those he loved freed from the mess they had gotten themselves into, and the price he paid to try and save them from certain death. Like Rebel Ridge, the ending to that story remains open: who will take up the call and will true justice ever be served?