Article
Comment
Identity
Romance
5 min read

Celibacy, the Pope and the dating app

There’s a desperate need for a new sexual revolution.

David is a postdoctoral research fellow at Oxford University’s Theology and Religion faculty.

An advert on a Underground platform shows a person next to the slogna: Thou shalt not give up on dating and become a nun.
Bumble's controversial ad campaign.

Recent news has sparked a furore over celibacy, and, as I will explain, the need for a new sexual revolution. Feminist theologian, Sarah Coakley, points to in her book, The New Asceticism, points to why we need this new sexual revolution

“the problem with desire is that it has become so heavily sexualised in the modern, post-Freudian period as to render its connection with other desires (including desire for God) obscure and puzzling.”  

A glance at the media on both sides of the Atlantic provides evidence. Senator Tim Scott’s singleness is derided on the US news cycle, and London Underground adverts for dating app Bumble undermined the choice to be a nun or make a vow of celibacy. 

For decades, the bowdlerised notion that Freud saw celibacy as a form of suppression, has created a deeply damaging myth that if you are not having sex, you are not just repressed, you are not even human. In its inaner, but still hurtful forms, if you are celibate, you are not trustworthy, a repressed pervert, or worse, worthy of being socially excluded. Of course, bad celibacy has had terrible results in and outside the Church, but so has bad marriage, and yet we do not treat the married or marriage this way. 

You would expect to turn to the Roman Catholic, Anglican or mainline churches for a nuanced and profound contradiction to a culture obsessed with what they see merely as a ‘lack of sex.’ Instead, the Pope was recently reported to have made the comment that there was already too much “frociaggine” in some seminaries. The Italian word roughly translates as “faggotness”. Matteo Bruni, the director of the Vatican’s press office stated: “As he [the Pope] has stated on more than one occasion, ‘In the Church there is room for everyone, everyone! Nobody is useless or superfluous, there is room for everyone, just the way we are.’” 

“The Pope never meant to offend or to use homophobic language, and apologises to everyone who felt offended [or] hurt by the use of a word,” Mr Bruni concluded in the Vatican statement. 

The Pope has made other comments about celibacy, dissuading gay people from entering the priesthood just on the basis of sexual orientation. It is hard to argue that this is anything but discrimination. If the Pope wanted LGBTQI+ people to inhabit a traditional ethic, then provide a way constructively for them to do so.  

This billboard ad reveals a culture which is erotically moribund and which has lost the fact that love is inevitably sacrificial in nature.

Now to turn to the dating app world, Bumble, aware of the new rise of singleness and celibacy (around 51 per cent of the American population is single), particularly among young women, struck out against this choice with controversial adverts. 

This billboard ad reveals a culture that is erotically moribund and which has lost the fact that love is inevitably sacrificial in nature. My heart sank as I saw this billboard on the Underground. As someone who wrote their doctorate on celibacy, and has chosen to be dedicated to a love greater than sex and marriage, and who chose to be consecrated and vowed to celibacy, I felt angry at the notion that my choice, and that of millions of people, was derided as fanciful. This felt like another chip off the liberal project that I want to believe in of true diversity of opinion, and a shared city and society.

However, the value of sacrificial love at the bedrock of late modern and post-secular society was revealed as still as powerful as ever with Bumble receiving a wide response of outrage, and the marketing manager responsible being subsequently fired. 

If we are to love someone, we must learn to deny choices and narrow our field of volition where we choose them over other pressing concerns. 

In reading this I felt that some justice had been served. I could not escape the words of Pope Benedict XVI : “When Jesus speaks in his parables of the shepherd who goes after the lost sheep, of the woman who looks for the lost coin, of the father who goes to meet and embrace his prodigal son, these are no mere words: they constitute an explanation of his very being and activity. His death on the Cross is the culmination of that turning of God against himself in which he gives himself in order to raise man up and save him. This is love in its most radical form.”  

For a moment, this radical love reflected in a healthy, non-repressive celibacy, which gives itself up for God and the other, and marriage as its sacrificial counter-part, was vindicated and, for a moment, was given the value it deserves, and which Bumble, and even at times, that God’s own church, have betrayed. 

If we are to love someone, we must learn to deny choices and narrow our field of volition where we choose them over other pressing concerns. Such a view of love has been lost both inside and outside the Church. 

Only a new asceticism, as Sarah Coakley avers, can purify “desire in the crucible of divine love, paradoxically imparting true freedom through the narrowing of choices.” 

The fact we have gained such an impoverished ascetical or moral imagination for our loves does not bode well for how not just single people, but all people can flourish. A life of flourishing which does not involve sexual acts or in which a love beyond sex can be expressed in friendship speaks to a hope beyond sex and marriage, without which the human heart will remain restless and unsatisfied.  

As Pope Benedict XVI states in his essay, Deus Caritas Est: “God is the absolute and ultimate source of all being; but this universal principle of creation—the Logos, primordial reason—is at the same time a lover with all the passion of a true love. Eros is thus supremely ennobled, yet at the same time it is so purified as to become one with agape.” Our society, from Pope Francis all the way to Bumble needs a new sexual revolution, which sees that sex is a clue to this deeper love of God for which we were created and which beckons us as with a faithfulness and passion no other lover can provide. 

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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