Article
Care
Comment
Economics
Ethics
4 min read

NHS: How far do we go to feed the sacred system?

Balancing safeguards and economic expediencies after the assisted dying vote.

Callum is a pastor, based on a barge, in London's Docklands.

A patient eye view of six surgeons looking down.
National Cancer Institute via Unsplash.

“Die cheaply, protect the NHS” It sounds extreme, but it could become an unspoken policy. With MPs voting on 29th November to advance the assisted dying bill, Britain stands at a crossroads. Framed as a compassionate choice for the terminally ill, the bill raises profound ethical, societal, and economic concerns. In a nation where the NHS holds near-sacred status, this legislation risks leading us to a grim reality: lives sacrificed to sustain an overstretched healthcare system. 

The passage of this legislation demands vigilance. To avoid human lives being sacrificed at the altar of an insatiable healthcare system, we must confront the potential dangers of assisted dying becoming an economic expedient cloaked in compassion. 

The NHS has been part of British identity since its founding, offering universal care, free at the point of use. To be clear, this is a good thing—extraordinary levels of medical care are accessible to all, regardless of income. When my wife needed medical intervention while in labour, the NHS ensured we were not left with an unpayable bill. 

Yet the NHS is more than a healthcare system; it has become a cultural icon. During the COVID-19 pandemic, it was elevated to near-religious status with weekly clapping, rainbow posters, and public declarations of loyalty. To criticise or call for reform often invites accusations of cruelty or inhumanity. A 2020 Ipsos MORI poll found that 74 per cent of Britons cited the NHS as a source of pride, more than any other institution. 

However, the NHS’s demands continue to grow: waiting lists stretch ever longer, staff are overworked and underpaid, and funding is perpetually under strain. Like any idol, it demands sacrifices to sustain its appetite. In this context, the introduction of assisted dying legislation raises troubling questions about how far society might go to feed this sacred system. 

Supporters of the Assisted Dying Bill argue that it will remain limited to exceptional cases, governed by strict safeguards. However, international evidence suggests otherwise. 

In Belgium, the number of euthanasia cases rose by 267 per cent in less than a decade, with 2,656 cases in 2019 compared to 954 in 2010. Increasingly, these cases involve patients with psychiatric disorders or non-terminal illnesses. Canada has seen similar trends since legalising medical assistance in dying (MAiD) in 2016. By 2021, over 10,000 people had opted for MAiD, with eligibility expanding to include individuals with disabilities, mental health conditions, and even financial hardships. 

The argument for safeguards is hardly reassuring, history shows they are often eroded over time. In Belgium and Canada, assisted dying has evolved from a last resort for the terminally ill to an option offered to the vulnerable and struggling. This raises an urgent question: how do we ensure Britain doesn’t follow this trajectory? 

The NHS is under immense strain. With limited resources and growing demand, the temptation to frame assisted dying as an economic solution is real. While supporters present the legislation as compassionate, the potential for financial incentives to influence its application cannot be ignored. 

Healthcare systems exist to uphold human dignity, not reduce life to an economic equation.

Consider a scenario: you are diagnosed with a complex, long-term, ultimately terminal illness. Option one involves intricate surgery, a lengthy hospital stay, and gruelling physiotherapy. The risks are high, the recovery tough, life not significantly lengthened, and the costs significant. Opting for this could be perceived as selfish—haven’t you heard how overstretched the NHS is? Don’t you care about real emergencies? Option two offers a "dignified" exit: assisted dying. It spares NHS resources and relieves your family of the burden of prolonged care. What starts as a choice may soon feel like an obligation for the vulnerable, elderly, or disabled—those who might already feel they are a financial or emotional burden. 

This economic argument is unspoken but undeniable. When a system is stretched to breaking point, compassion risks becoming a convenient cloak for expedience. 

The Assisted Dying Bill marks a critical moment for Britain. If passed into law, as now seems inevitable, it could redefine not only how we view healthcare but how we value life itself. To prevent this legislation from becoming a slippery slope, we must remain vigilant against the erosion of safeguards and the pressure of economic incentives. 

At the same time, we must reassess our relationship with the NHS. It must no longer occupy a place of unquestioning reverence. Instead, we should view it with a balance of admiration and accountability. Reforming the NHS isn’t about dismantling it but ensuring it serves its true purpose: to protect life, not demand it. 

Healthcare systems exist to uphold human dignity, not reduce life to an economic equation. If we continue to treat the NHS as sacred, the costs—moral, spiritual, and human—will become unbearable. 

This moment requires courage: the courage to confront economic realities without compromising our moral foundations. As a society, we must advocate for policies that prioritise care, defend the vulnerable, and resist the reduction of life to an equation. Sacrifices will always be necessary in a healthcare system, but they must be sacrifices of commitment to care, not lives surrendered to convenience. 

The path forward demands thoughtful reform and a collective reimagining of our values. If we value dignity and compassion, we must ensure that they remain more than rhetoric—they must be the principles that guide our every decision. 

Review
Culture
Film & TV
Monsters
4 min read

How to do the Devil’s work in modern America

The Bondsman ‘literal evil’ fits so easily into today.

Giles Gough is a writer and creative who host's the 'God in Film’ podcast.

A bondsman looks to a colleague.
Kevin Bacon and Jolene Purdy star.
Amazon Studios.

The Bondsman looks like the kind of story we’ve seen many times before, but look closer and you’ll see some fascinating insights.  

The show dropped on Amazon Prime last Thursday, starring Kevin Bacon as murdered bounty hunter Hub Halloran, who is resurrected by the Devil to hunt demons that have escaped from the prison of Hell. Hub learns how his own sins got his soul condemned, which pushes him to seek a second chance at life, love, and bizarrely enough, country music. 

After being murdered in an all-too visual pre-credits sequence, Hub is resurrected, and after seeing some supernatural horrors he can’t explain, Hub is quickly sent chasing down those demons with the help (and often hinderance) of his mother played by Beth Grant. They receive instructions on which demons to capture via fax. The demons are suitably unsettling, with their red pinprick-of-light eyes and gravity defying leaps. As scary as they are, they are also helpful enough to get themselves killed with conventional weapons and burst into flames as soon as they die, saving Hub the inconvenience of having to dispose of the bodies.  

In the first few episodes, it would be easy to dismiss The Bondsman as schlocky genre fiction. Kevin Bacon easily leans into the laconic, foul-mouthed cynic, more comfortable with ultra-violence than discussing his emotions. The Southern Gothic is an aesthetic we’ve seen in more Amazon Prime shows than we care to remember at this point, and the gore is at the level you would expect from horror experts; Blumhouse, and the setting of rural Georgia, is reminiscent of The Walking Dead. You could be forgiven for leaving this show at the pilot and not returning to it. But if you can make it through the formulaic first few episodes (which are mercifully short, 35 minutes at the longest) your patience is likely to be rewarded.  

For any viewers familiar with Angel or Constantine, the idea of a hero who fights evil but is still damned to hell for their past actions, is well worn territory. But if we look at Hub’s ‘co-ordinator’ Midge (Jolene Purdy) we get a small insight into the banality of evil. Midge is coerced into selling her soul to the devil in order to save her dying infant son. This highlights how often people are drawn into corruption because they were forced to pick the lesser of two impossible evils. As Midge’s own ‘co-ordinator’ tells her: “The fastest path to hell: selling your soul to help someone you love”. Midge’s son is ‘miraculously’ healed, so long as she continues to meet her quota of convincing people to sell their souls. It seems the devil has a better health plan than corporate America. 

Those subtle jabs at corporate America make the show quietly subversive. The devil’s minions here appear as the ‘Pot O’ Gold’ company, a slimy operation that preys on the weak and perpetuates misery in order to benefit a faceless boss. What’s interesting is how ‘literal evil’ fits so easily into the model of a capitalist corporation. Whilst many US politicians may decry the evils of socialism, it seems that as far as evil in America in The Bondsman is concerned, the call is coming from inside the house.  

It's true that God is largely absent from this story. In the same way that competent, protective parents are absent from children’s novels. If he was present, that would undercut a lot of the narrative tension. Despite this, it’s interesting how even in a world where characters reference and believe in the existence of God, virtually none of the characters think to pray or ask for his help. It brings to mind the C.S. Lewis quote about how “the doors of hell are locked on the inside". 

This might possibly be the show’s greatest contribution. What we can see from The Bondsman is God in the inverse, a negative image. Instead of the hope of an eternal life, they’re faced with the numbing despair of lasting torment. Hub and Midge are sent out on missions by a faceless, uncaring ‘boss’ rather than a loving intimate father, forced into being corporate co-workers rather than found family. Once it moves past the adolescent gore-for-gore’s sake of the first few episodes, it seems The Bondsman might have a fantasy world worth exploring. 

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