Article
Character
Comment
Freedom
Politics
4 min read

Elon will learn that speech is never free

We see the cost of our words in our daily lives.
Elon Musk, wearing a t-shirt slouches forward, holding a mic, while sitting on a stage chair.
Musk, not talking.
Wcamp9, CC BY 4.0, via Wikimedia Commons.

Nigel Farage presumably still believes Elon Musk a ‘hero’ for reintroducing absolutely free speech on X- despite the Billionaire concurrently suggesting that Farage isn’t cut out to lead the UK’s Reform party. If he is truly committed to the free speech cause, Nigel should welcome this verbal attack from Musk as proof that he can take what he often gives out.  

This turn of events demonstrates free speech to be a misnomer. Whatever we say - and do - is never free, and always has a price to pay. Farage and Reform ended up paying the embarrassing cost of Musk’s pointed comments this time round, bemused by the volte-face from the man who was in talks to donate to Reform just weeks ago. 

We see the cost of our words in our daily lives. Saying ‘sorry’ costs us our pride, saying ‘thank you’ costs us our independence, saying ‘I forgive you’ costs us our chance at revenge, giving a compliment costs us a battle with our own insecurities, and so on. And these are positive words- the verbal price is plainer to see when we have caused hurt, upset, or distress. I am grieved often by a thoughtless or hurtful comment given or received.  

The impact of Musk’s words on Farage is clear to see, but there is also an impact on Musk’s inner life. This is the hidden cost of negative speech; the speaker poisons themselves with the negativity they are channelling in what they say. A Hebrew proverb states that ‘death and life are in the power of the tongue, and those who love it will eat its fruits.’ Continuous negative speech will twist a person entirely in on themselves, slowly reducing any capacity to love or bear goodness. Eventually the tongue dictates the whole person; what victimising speech comes out is the sum total of the defiled heart that propels it. There is little ability to pull back- what was once a conscious choice to engage in vitriol has become the unconscious reflex of a vitriolic heart. 

Advocates of uncensored speech are usually trying to say something society does not generally accept, and therefore often something extremist. Recognising there is great cost to hurtful speech both to the speaker and the target might encourage those tempted to vent their deepest fears in the form of insult to consider again the power of the tongue.  

Questioning Farage’s politics may not be an extremist thought, but we must pay attention to the fact that the ‘hero’ of free speech, Musk, appears to have fallen out with Farage because of their differing opinions on Tommy Robinson, the extremist whom Musk has continued to platform and refused to censor. Farage has distanced himself from Robinson and seemingly incurred Musk’s wrath. Furthermore, Musk’s vile comments over the weekend about Keir Starmer and Jess Phillips demonstrates that repeated insults curate a dark heart. 

Perhaps we should not be surprised that Musk seems to be on a concurrent campaign to disrupt democracy as he tries to advocate a total absence of censorship. The role of democracy is to protect minorities; the reason we trust elected officials to vote laws in for us is to protect those unlike us from mob rule. In our society, our elected officials should be protecting the migrants, refugees, ethnic minorities, criminals, the disabled, those unable to work, and any others who are ripe for victimisation by wider society.  

These protections, the rule of law, and the court system, means we can live together without our basest human instincts for violence ruling our better judgements. Ours is a society built on biblical principles, and the care for the foreigner and the poor is found continuously from cover to cover of that book. Not only does democracy offer a system of government that offers the protection of the law, but it also incorporates universally just principles with regards protecting minorities. 

This is the reason that free speech is curbed to an extent in Britain by the ability to prosecute hate speech. Our elected officials have decided that the cost of some speech is too high to pay. This is not a totalitarian imposition, but a recognition that in an internet age, hateful opinions spread too quickly and too visibly to be tolerated. 

In order to attempt to curate a society of gentler and healthier hearts, we should turn to the teacher whose words operated exclusively in grace and truth. Jesus recognised that speech was not free, saying on one occasion that each person would have to account for their careless words before God on the day of judgement. Deeper than even the consequences for our own selves and the recipients in the immediate moment, this eternal cost should remind us of the responsibility to use our words wisely and to deal in truth, encouragement, and wise critique.  

All our words have tariffs - Jesus’ earthly life was full of negative reactions to his speaking the truth. And yet, for ourselves, for our societies, and for those who need protection from hatred: we must think twice before we speak. For our words cost more than we will know in this life. 

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Review
AI
Character
Culture
Film & TV
4 min read

The utter humanity of Wallace and Gromit

Choices in front of and behind the camera tame technology.
A still from a claymantion film shows three characters, Wallace, Gromit and a robot garden gnome marching out a garden shed.
AI: here to help.
Aardman Animations.

In 1993, Aardman Animations released Wallace & Gromit: The Wrong Trousers. It follows hapless inventor Wallace and his long-suffering dog Gromit as they rent out their spare room to a penguin, Feathers McGraw, who is subsequently revealed to be a master criminal, narrowly pipping Anthony Hopkins’ Hannibal Lecter and Javier Bardem’s Anton Chigurh to the title of cinema’s most sinister villain. (Trust me: you will never look at a red rubber glove the same way after The Wrong Trousers). 

At the film’s climax, perpetual good-boy Gromit chases McGraw through the house via a series of increasingly convoluted model railway tracks, even as he has to build the very tracks he’s riding on. There is a strong argument to be made that it is best scene in cinematic history.  

Fast forward to Christmas, 2024, and Wallace and Gromit: Vengeance Most Fowl is shown on BBC One on Christmas Day. It tells the story of Feathers McGraw – who has lost none of his quiet menace – plotting revenge on the eponymous duo, this time by taking over a series of technologically advanced garden gnomes Wallace has invented.  

While nothing in Vengeance Most Fowl tops the train chase from The Wrong Trousers – indeed, how can one improve on perfection? – it is another magnificent addition to the Wallace and Gromit oeuvre.  

Moreover, it is a remarkably prescient tale about the dangers of technology, and the beauty of humanity. It is the perfect antidote to much of modern cinema and almost single-handedly restored by faith in film as an artistic medium. Vengeance Most Fowl is such a success because it oozes humanity in every single frame. However, this humanity appears most clearly in three distinct ways.  

First, in its story. The inciting MacGuffin of Vengeance Most Fowl is the new garden gnomes Wallace has concocted. Feathers McGraw takes control of Wallace’s gnomes by hacking into its software and switching it from ‘good’ mode to 'evil’ mode. (Like everything in life, this is a joke The Simpsons got to first: in 1992’s “Treehouse of Horror III,” Homer accidently buys Bart a Krusty the Clown doll accidently set to ‘evil’ mode rather than ‘good’ mode.) 

Vengeance Most Fowl offers a more nuanced take on technology than most. It’s neither straightforwardly good nor straightforwardly bad; it depends entirely on the user. We see the benefits of the gnomes as they help people with their gardening. But put them in the hands of the wrong person – or penguin – and they become tools for evil. Vengeance Most Fowl is not an anti-technology film, then, but is realistic about the fact that some humans – and, indeed, penguins – will inevitably seek to use technology for nefarious ends. 

Second, in its voice acting. Vengeance Most Fowl is the first Wallace & Gromit film released following the death of long-standing Wallace voice actor Peter Sallis. It is genuinely remarkable, then, that no AI was used by Aardman to replicate his voice. Instead, this is left to Ben Whitehead and the results are certainly worth it. 

Where many film studios or production companies would have used technology to offer a ‘fake’ Sallis performance – think Peter Cushing in Rogue One: A Star Wars Story, for example, or even the use of AI to reconstruct John Lennon’s voice for the lost Beatles single “Now and Then” – Aardman did not. Instead, they made a very conscious decision to have Whitehead offer a deeply human performance as Wallace. When (SPOILER ALERT) at the end of the film Wallace tells Gromit that he can live without inventing, but he can’t live without his dog, the emotional pay-off is so genuine because it is real. Because it is a thoroughly human moment. 

Third, in its cinematography. Claymation is a medium only adopted by artists who hate themselves. That’s the only reason I can think for making an entire film using such a slow, tedious process. It is also a deeply human art form. It is the result of tens of thousands of hours of painstaking and repetitive work. It is yet another conscious choice by the team at Aardman to create something that is thoroughly and unmistakably human. 

All of this, I think, says something about how Wallace & Gromit manages to feel like such a breath of fresh air. It has not been committee-d to death, or market research-ed into beige-ness. It is full of stupid little jokes (like Gromit reading Virginia Woof) and localised references (“Yorkshire Border: Keep Out!” followed by “Lancashire Border: No, Your Keep Out!”).  

The cost of making Wallace & Gromit films is too costly for them to be cheap, mass-produced disappointments churned out at an increasing rate of knots. They are lovingly hand-crafted works of art and, given the current state of much cinema and TV, they are nothing short of minor miracles.  

Wallace & Gromit is an utterly human series of films. It isn’t perfect. And that’s what makes it perfect. 

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