Column
Character
Comment
4 min read

How to react in an era of social media outrage

Media executions and the quality of mercy.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A man in a suit stands on a gallery above a cavernous space in which are rows of desk
Huw Edwards stands above the BBC news room.
BBC.

The story of Huw Edwards presents challenges to anyone who wonders how to respond appropriately. The news anchor is back, on the news agenda rather than presenting it, having resigned from the BBC on “medical advice”. In news terms, it seems a long time ago – nearly a year – when stories emerged that he had paid a teenager for what are blushingly called “explicit images”. 

His departure, rather belatedly said to have been inevitable, follows disclosures that he has continued to draw a very handsome BBC salary during his suspension from duty – and one that the corporation would rather not still be paying when it publishes its annual review of figures shortly. 

The difficulties come when, putting aside prurience and distaste, one scrutinises why exactly the life and career of Edwards have been ruined. The police wasted little time last year in concluding that there was no evidence that a criminal offence had been committed. All that is left is a salacious whiff and the knowledge that Edwards has suffered a depressive breakdown of some sort 

But that’s more than enough to make a major story in the era of peak social-media faux outrage. Think Philip Schofield, life ruined by stupidly lying about a fling with a much younger colleague (of consenting age). Think Caroline Flack, a reality actor with demonstrable mental health issues, hounded to her suicide. Think even the internet-sleuthing landslide that threatens to cover and suffocate comic Richard Gadd’s “true story” Netflix movie, Baby Reindeer.

While forgiveness liberates the forgiver (rather than necessarily the one being forgiven), Christians need to be wary of using forgiveness as a get-out-of-jail-free card.

So how to respond to the Edwards resignation? The question supposes that we must indeed respond and that might contain the principal point. A senior news anchor with the BBC is a public figure. As such, he (or she) needs to be trusted by the public. Consequently, Edwards is called to a higher standard of behaviour than that of his invisible viewers. 

Serious people in serious jobs need to be taken seriously. And anyone caught with their pants down, literally or figuratively, cannot look serious.  

Yet that still doesn’t supply us with a response (beyond “don’t be an idiot”). Actually, it rather complicates matters. It’s easier if a crime has been committed, because we can take refuge in justice, reparation for the victim and punishment for the perpetrator. None of this seems to be available in Edwards’ case. 

Some will reach for forgiveness under these circumstances. But that’s insufficient, since for most of us Edwards has done nothing more than read the news off an autocue and speak for the nation during royal events.  

We risk disempowering a real victim if we forgive on their behalf, so it’s inadequate to talk only of forgiveness in this circumstance. While forgiveness liberates the forgiver (rather than necessarily the one being forgiven), Christians need to be wary of using forgiveness as a get-out-of-jail-free card. 

 

By contrast, “the quality of mercy is not strained” in this way through our mortal experience. It’s universal and unqualified. 

In any event, forgiveness is a quality of compassion, the latter being the virtue to which we might most usefully aspire in response to the circumstances in which Edwards suffers. The root meaning of compassion is “to suffer with”, as in to share and, in doing so, profoundly to understand the suffering of another. In popular parlance, it might be to walk a mile in their boots. 

To view the media execution of Edwards with compassion is to walk a mile in his boots and to accept, with humility, that we can be as fallible as him. Vitally, this is to show mercy rather than pity. The latter is filtered through human experience – Pieta is a Renaissance artistic meme, which invariably shows the Virgin Mary’s essential humanity at the deposition of her son from the cross. 

By contrast, “the quality of mercy is not strained” in this way through our mortal experience. It’s universal and unqualified. Shakespeare’s famous line is given to Portia in The Merchant of Venice. One of the things it tells us is that to pity is human, but to be merciful is divine.  

It’s from theological, cardinal virtues that mercy flows. But it’s born of compassion, which has its Christological source in the suffering (or Passion) of Christ, in which the human condition – sin, frailty, pain, death – is shared with the divine. 

That’s a worldview that holds Huw Edwards in its gaze. It’s a wholly loving gaze that seeks to share his despair and failure, which is the ultimate act of compassion. Edith Cavell, the nurse who was shot as a spy in Flanders in the First Word War, came very close to it when she said before her execution: “Patriotism is not enough. I must have no hatred or bitterness towards anyone.”  

Edwards doesn’t (literally) face a firing squad, so direct comparison is invidious. But our response might still be a compassionate one. We may not be able to walk a mile in his boots. But we can try. 

Review
Culture
Film & TV
Monsters
5 min read

Here’s what Death of a Unicorn gets very wrong

‘The unicorn was a Christ-allegory’ and other lies.

Iona is a PhD candidate at the University of Aberdeen, studying how we can understand truth. 

A tapestry depicts a unicorn resting within a fenced enclosure.
The Unicorn Rests in a Garden (from the Unicorn Tapestries).
Public domain, The Met Museum.

I don’t do horror or gore. And yet, I just saw the gory creature feature comedy horror Death of a Unicorn. I have not seen such a clichéd movie in a very long time (probably since Don’t Look Up…). Death of a Unicorn gives us a strained father-daughter relationship, the artsy young girl with silver rings on every finger and dyed hair, cartoonishly evil rich people, their creepy but stupid blonde son, the put-upon butler… and… the unicorn. However, the biggest cliché of them all is perhaps the desperate attempt to subvert expectations and tell a new story about a familiar trope… and failing.  

Given the title of the film, one would be forgiven for assuming that unicorns play a significant role in it. One would be mistaken. The conceit of killer-unicorn is a fun one. I wish the film had played with it more. Instead, the unicorns themselves barely feature and are not particularly interesting or subversive. The perception of the unicorn that is put forward by the characters likewise is trite and tired.  

The film features another classic scene: the ‘plucky young woman digs out her laptop and falls down a google rabbit hole to research paranormal/fantastical phenomenon’. In her research Ridley comes across a set of medieval tapestries depicting a unicorn hunt. These tapestries do exist in real life and are indeed now housed at The Met. The Met’s fictional website in the film informs Ridley that the fifth tapestry in the series ‘The Unicorn Surrenders to a Maiden’ only survives in fragments (true) and that scholars believe the missing part of the tapestry most likely showed the unicorn going on a murderous rampage (very much not true). From this, Ridley deduces that, since unicorns do indeed appear to be real, the warnings of old ought to be heeded. In the film, Ridley is proved right, the unicorns do turn out to be murderous monsters out for the blood of those who would abuse the remains of their dead foal.  

While the real Met website does indeed show us the torn tapestry, it features no such conjecture about the gory violence the unicorn might have inflicted prior to being subdued by the maiden.  

In one of her desperate attempts to reason with the megalomaniacal pharmaceutical tycoons, Ridley slips in a sentence about the unicorn serving as an allegory for Christ. This is a claim that is repeated all across the internet in various fora, fan sites, even some old scholarship. But that is exactly what this theory is: outdated scholarship… mixed with a healthy (unhealthy?) dose of paternalistic attitudes towards the past and half-misremembered folklore about Christian symbolism. It is true that medieval art is rich in symbolism. It is also true that medieval European cultures were deeply steeped in Christian religious traditions. However, as Barbara Drake Boehm writes in her recent book on the tapestries ‘the Cloisters Hunt for the Unicorn tapestries have … fallen victim to a tendency to perceive Christianity in every stitch’. The fact that one of the hunters has a scabbard that invokes the ‘Queen of Heaven’ (the Virgin Mary), or that another carries rosary beads, are most likely simply indicative of the fact these were common items ‘within the majority-Christian society in which the tapestries were created’. (A Blessing of Unicorns, The Metropolitan Museum of Art, 2020).

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. 

One doesn’t need a degree in art history to figure out that such an allegorical relation would make no sense either. If the unicorn was representative of Christ and the hunt of his Passion, why does the unicorn fight back? If the untouched maiden in whose lap the unicorn reposes is the Virgin Mary, mother of Christ, why does she help the hunters trap and kill the unicorn? The tapestry that supposedly shows the unicorn resurrected and at peace in its captivity does not even appear to belong to the same narrative as the other tapestries. And why would a resurrected Christ-figure be shown in supposed captivity?  

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. ‘Ah, well, back then they were all religious fanatics that believed in silly things like Jesus and unicorns.’ The implication being that in our modern, enlightened state we couldn’t possibly be accused of believing in silly simplistic mythical accounts of the world… Yeah. Not only is this of course false, it also distract from the very real things we could learn from the past.  

The film in the end wants to have it both ways. It wants to ridicule medieval people (based on lazy stereotypes) as well as perpetuating some of the most backward attitudes woven into the tapestries. So, what is the real true meaning of the tapestries and of unicorns? I don’t know. I can’t offer ‘real true’ interpretations (because they don’t exist). What I can offer is a careful and close engagement.  

What strikes me about the myth of the unicorn is what the unicorn does stand for. Over the centuries the unicorn has been used as a symbol for purity, innocence, humility, and sometimes fertility. In medieval poetry the (male) bard would often cast himself as the unicorn, beguiled by his beautiful lady, desiring nothing more than to rest his head in her lap. Little of this particular metaphor has survived into the modern pop-culture. What seems to have survived is the strong connection with young virgins. This particular trope features heavily in the film too though the film makers attempt to gloss over the sexual implications of ‘virgin’ by speaking only of ‘maidens’ (which still means the same thing but doesn’t have the same sexual baggage for modern ears).  

Now, that is indeed an interesting aspect worth unpacking. Why is it that unicorns are so attracted to young women who have not had sex? Why the obsession with virginity and the implied association that – for a woman! – having sex sullies something pure? What does it mean that both the hunters in the tapestries and the rich people in the film use a woman’s body and sexuality to trap the unicorn and commit their violence? Where’s the film that deals with those questions? Until they make that one maybe I’ll stick with My Little Pony, I’m told that has significantly less disembowelment.  

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