Review
Culture
Film & TV
Romance
4 min read

Growing up with no hard feelings

Jennifer Lawrence’s latest eyebrow-raising romcom brings the sexual-awakening story back from the 90s movie graveyard. Lauren Windle explores what it really means to grow up.

Lauren Windle is an author, journalist, presenter and public speaker.

A young couple sit next to each other on a beach sharing a towel.
Andrew Barth Feldman and Jennifer Lawrence.
Sony Pictures.

I hate to sound like your moany Uncle Raymond, but they just don’t make romcoms like they used to. The likes of 10 Things I Hate About You, Clueless and She’s All That have never been replicated in recent times and attempts to recreate the 90s nostalgia have always fallen flat on their face.  

It’s for this reason, I was excited when I saw No Hard Feelings hit the cinemas. The latest Jennifer Lawrence movie was pitched as a hilarious coming-of-age tale for the modern era. The story sees strapped-for-cash millennial Maddie (Jennifer Lawrence) hired by the parents of an introverted gen-z lad Percy (Andrew Barth Feldman), to help him into blossom into maturity – via the medium of sex. The meddling helicopter mum and dad were concerned their talented 19-year-old was more interested in computer games than socialising and fornication. 

The film is silly. If you’re reading this to establish whether you should go and see it, I would say sure – if you want a low-emotional-investment flick that you’ll watch once but not twice. But the question it raised for me was: How do we know when we’ve grown up?  

I felt I was most grown-up when tackling things alone. I wanted to be open to all experiences on the spectrum of sensible to reckless. 

If the initial premise of the film is anything to go by, growing up means embracing partying, reckless behaviour, drinking and losing your virginity. This is, probably word for word, how 14-year-old me would have described maturity. In my adolescence, I believed that increased maturity meant more independence. I felt I was most grown-up when tackling things alone. I wanted to be open to all experiences on the spectrum of sensible to reckless. I formed opinions hastily and defended them resolutely. I was desperate to be trusted and to be “my own person”. My parents were a humiliating presence in my life who crowded my decisions with their own, old-fashioned logic. From my perspective; the less they were allowed influence, the better. To me, being an adult involved doing “adult things”, those that came with a legal minimum age requirement.  

This is the kind of “maturing” that Percy is encouraged to do in the film. Maddie orders him a strong alcoholic drink, attempts to lure him into casual sex and persuades him to skinny dip. She instructs him to consider himself an adult and to distance himself from his parents (in fairness they did have a tracker on the 19-year-old’s phone and had hired a woman to take his virginity, so she probably wasn’t wrong in this instance). By all accounts, it seemed Maddie considered maturity to involve the same things as I did at age 14. 

But I’ve come to realise that these milestones are often just touchpoints in a maturing process that is entirely circular. Stay with me on this one; ideally, we start life reliant on those who care for us, ensuring we eat well and get enough sleep, we spend time developing and learning, backing away from things that are likely to cause us pain. Then many of us ‘grow-up' and break free from those who raised us. We are no longer so careful about what we eat or how long we sleep, we begrudgingly continue learning or some shun education altogether. We are enticed by things which may or may not provide a short-term amusement but will definitely harm us in the long term. But the loop closes up.  

We come to the realisation that true maturity is acknowledging that life is designed to be lived in community, reliant on those around us. 

As we move away from the excitement and poorly judged choices we associated with maturity, we realise that we do, in fact, want to spend time with those who care and cared for us. We seek their wise counsel rather than avoiding it. We come to the realisation that true maturity is acknowledging that life is designed to be lived in community, reliant on those around us. And most crucially – asking for help isn’t childish but the most mature thing of all. 

We start to want to care for our bodies. The idea of a hangover is repulsive and to be avoided at all costs, rather than a necessary penance for a fun night with friends. We want to invest in our growth and development in all the ways; emotional, mental, academic and spiritual. We start to self-impose the restrictions that we railed against in our youth. The idea of a 10pm bedtime is absolute bliss and events that start at 9pm are abhorrent. 

By Maddie’s metrics, I grew up at 15, but by mine, I was 25. It wasn’t until then that I started asking myself questions about the person I wanted to be – not the one I thought others wanted of me. This is when I walked into a church and when I decided that really understanding what I believed was important. It’s also when I started letting thoughtful people speak into my life rather than being convinced that I knew better. 

Despite being a decade on from that period of inviting in development and support, I still can’t be certain I’m done growing up, but I wonder if acknowledging that truth is its own form of maturity. From time to time, I get behind the wheel of a car from time to time and think: “Does anyone know I’m doing this unsupervised?” And when I babysit young children, I half expect a real grown up to come over and relieve me of the responsibility, telling me I’ve done a good job but they’ll take it from here. I asked a woman in her 70s when she finally knew she was an adult, she replied:  

“I don’t know if anyone truly considers themselves grown up.” 

The film perfectly illustrates our rush to mature, our societies’ obsession with collecting milestones and experiences and our warped idea of what adulthood should look like. But when I reflect on the maturing process, all I can conclude is that the more we grow in childlike awe, wonder and accepting of our limitations – the more mature we become. 

Review
Belief
Culture
Music
5 min read

Mumford & Sons search for meaning

Wonder about which love they sing of - earthly or divine.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A band lounge around.
Pondering the reviews.
Mumford & Sons

My old RE teacher always liked to make the point that meaning can be found in anything, if you want to find it.  

“Do you find meaning in a sunset?” he’d ask. “Or only beauty?” 

From the outset of Mumford & Sons’ new record, ‘Rushmere’, the deeper things, as ever, are front and centre - at least for those of us who wish to find them. 

The folk band’s records have always been replete with religious undertones - lead man Marcus Mumford is the son of a preacher, don’t you know? - and they are apparent from the very start of the band’s fifth studio album and first since 2018. 

‘Rushmere’ kicks off with ‘Malibu’, which speaks of finding “peace beneath the shadow of your wings”, and an unnamed “you” being “all I want” and “all I need”. 

There’s even talk, right at the beginning of the song, of feeling “the spirit move in me again - the same spirit that moves in you”.  

Precisely which spirit is meant is never defined - these are song lyrics, after all, not a sermon - but for this listener at least, the reference to the third member of the Trinity appears clear. 

Not every song on the album hits such obvious religious notes, but the opening track is far from unique. Indeed, one needs only to flick through the names of the other songs to get a hint of the deeper meanings on offer, with titles such as ‘Truth’, ‘Anchor’ and ‘Surrender’. 

Meanwhile, in ‘Monochrome’, we’re told that even within a hyacinth can “life”, “restoration” - even “Christ” - be found.  

Could the “out of sight” monochrome “beyond reason” that we are called to contemplate represent the Christ - in theological terms, the “Word” of God - whose fingerprints can be seen across Creation? 

And what is meant when Mumford sings that “the kind of love that I’m always chasing is the kind of love that won’t be chased?”  

As with many of the band’s lyrics, there appears space for both a romantic and religious reading, though perhaps romance is harder to read into metaphors such as a “cup running dry”, as Mumford sings elsewhere in ‘Monochrome’.  

Is it only me for whom this evokes memories of the old Sunday school refrain: “Fill up my cup and let it overflow”? 

‘Truth’, meanwhile, begins with the fairly blunt statement: “I was born to believe the truth is all there is.”  

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

It isn’t made clear whether such belief remains intact today, nor even which truth is meant, given that we now live in times where such things seem occasionally grey. But ‘Surrender’ appears more black and white, speaking of being brought to one’s knees, “broken” then “put back together”, and “held in the promise of forever”.   

“I surrender, I surrender now,” Mumford cries - words Christian congregations have sung for centuries. 

And as ever with a Mumford & Sons record, ‘Rushmere’ doesn’t hold back from the trickier theological issues, touching upon the concepts of both hell and original sin. 

“Let your anger go to hell,” ‘Where It Belongs,’ Mumford sings in the track of the same name, which is sung like a lament, while in the final track, ‘Carry On’, those of us who believe in original sin are encouraged to consider that “there’s no evil in a child’s eye”. 

“It was made, and it was good,” Mumford sings in a nod to the Creation story, when the world was blemish-free. 

Meanwhile, in ‘Anchor’, Mumford sings that he “can’t say he’s sorry if he’s always on the run from the Anchor”. Which for some of us, at least, will conjure recollection of part of the Bible’s Book of Hebrews that speaks of our “hope” - Jesus - being “an anchor for the soul, firm and secure”. 

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

Fans of Mumford & Sons - and yes, you’ve guess it, I count myself among them - will recognise that particular phrase from a previous hit, ‘Hopeless Wanderer’, which again seemed to speak to a life of faith; of pilgrims “called by name” trying “so hard to live in the truth”, but being “prone to wander”, as it says in the hymn ‘Come Thou Fount’, which Mumford has also been known to perform. 

So this is not the first Mumford & Sons album to have contained such imagery. Far from it. For those of us who’ve followed the band since their debut album, ‘Sigh No More’, in 2009, there have always been calls to ‘Awake My Soul’ or to find comfort in a future day in which there will be “no more tears.”  

In the years since, we have been encouraged to be ‘Lover[s] of the Light’, or to find hope in a ‘Guiding Light’ who won’t ‘Slip Away’ in the night. 

Perhaps, then, there’s nothing very different about ‘Rushmere’ - it represents just another chapter on a journey of faith - but this particular fan continues to appreciate, deeply, the depth that Mumford and his bandmates continue to bring to our ears.  

And as for the music, well I suppose by now that most readers will probably be familiar with what one can expect from a Mumford & Sons album, and ‘Rushmere’ certainly doesn’t disappoint those of us who like that kind of thing. 

It’s notably shorter than the previous album - nearly half the length - but is probably no worse for it. It’s hard to think of a weak song on the album, while there is something for everyone: from the country feel of ‘Caroline’ (think Counting Crows/Ryan Adams) and rock and roll of ‘Truth’, to the gentle fingerpicking and harmonies of ‘Monochrome’. Heck, the banjos even make a comeback on the self-titled ‘Rushmere’, so truly something for everyone - or at least for all of us fans.   

By the way, my old RE teacher never told us what he believed, but I later found out that he’d once been ordained, so I suppose that he, like me, might still find meaning in a sunset or even, perhaps, a Mumford & Sons record.

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