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Identity
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Taylor Swift
7 min read

Self-belief: what Ted and Taylor get wrong

Psychologist Roger Bretherton questions whether believing in ourselves is all it’s cracked up to be, despite what culture icons might say.

A man in a blue jumper holds a yellow sign reading 'believe'.
Ted and that sign.

Psychotherapists can be really irritating. You may not have noticed how irritating they are, but I have.  And that’s saying something. Because I am one - an irritating psychotherapist that is. In nearly two decades of practicing and training people to counsel, coach and generally therapize (I know that’s not really a word, but I can’t help irritating you by using it), I have curated an ever-growing list of the therapeutic practices by which I am most likely to be irritated.  

To my mind, the gold medal in the irritating therapist Olympics goes to a winsome and playful hypnotherapist called Stephen Gilligan. Some psychotherapists treat everything that comes out of their clients’ mouths as treasures to be prized, it clearly wasn’t the way Gilligan saw it. In fact, he developed a therapeutic strategy designed to confront any sense that it is possible to define ourselves simply. Every time a client made an ‘I am…’ statement, he would respond with a twinkling eye and a lilting voice, ‘Of course, you are [insert dramatic Pinteresque pause here], except when you’re not.’  

Consequently, the pantomime of therapy goes like this. You think you’re a failure? Of course, you are... except when you’re not. You think you’re a coward?  Of course, you are... except when you’re not. You think you’re a control freak? Of course, you are... except when you’re not. You think you’re always punctual? Of course, you are... except when you’re not. You think you’re disciplined? Of course, you are... except when you’re not. You think you’re accepting of everyone? Of course, you are... except when you’re not. You think this is all really irritating? Of course, it is... except… You’ve probably got the gist of it by now. 

But why would Gilligan, with all his charm and playfulness, risk infuriating his clients like this? Perhaps because he knows something important about human identity that most of us tend to forget. None of us can be summed up in a single sentence, and whenever we try, something grates against us. Any attempt to cram the complex fabric of our lives into the all-too-tiny suitcase of our self-definitions causes us pain. After all that’s what irritation is. It is the gnawing sense that something doesn’t quite fit.  

Psychologists note the difference between anger and irritation. When we are angry, we are usually angry at something. Someone or something has blocked our plans. We’re frustrated. It’s not right and we fight against it. There is a sense of indignation and injustice. But with irritation we’re not always sure what’s bothering us, and if we are sure what it is, we’re not sure it should bother us.  It’s the young couple whispering behind us in the cinema, the door that only closes with just the right pressure, the person who subtly insults us. Not quite enough to make us leap into action, but just enough to steal our attention. To be irritated is to be slightly annoyed that we are annoyed; to be annoyed while wondering whether we have any reason to be annoyed.

We are whole and perfect just as we are, and no can tell us otherwise. It is the gospel of self-belief, that lingers on the lips of cultural icons from Taylor Swift to Ted Lasso: believe in yourself.   

Stephen Gilligan was confronting his clients with the fact that we often wear our identities like this, like ill-fitting clothes that bulge or chafe in the places where the tailoring fails to match the way our lives really are. We can be described in many ways, but we cannot ultimately be contained in, reduced to, or summed up by any single concept. Some part of us always colours outside of the lines. The human equation always leaves a remainder.  

The idea that we are ultimately a glorious mystery, even to ourselves, is not a comfortable thing to live with. We would much rather come up with a bold simple label and stick ourselves to it. At least then we’re safe from uncertainty. At least then we’d be something. Most of us to some extent play this game, and the good news is that our culture offers us numerous ways to play it. The bad news is that none of them really work. 

Perhaps the most popular way to play the identity game is to believe that we already are everything we need to be. We are whole and perfect just as we are, and no can tell us otherwise. It is the gospel of self-belief, that lingers on the lips of cultural icons from Taylor Swift to Ted Lasso: believe in yourself.  You’d think that would be a good thing to believe, but it does run into problems, particularly when the rest of the world fails to hold the same opinion of us.  

If we believe ourselves to be wonderful in every respect it comes as a bit of a shock to discover that not all our colleagues, bosses, or friends regard us with the same breathless awe. At this point, many of us modify our view of ourselves to something more realistic. But if we are not prepared to do that, there are only a limited set of options by which to square the circle of knowing ourselves to be magnificent in a world that refuses to agree with us. We can attack the world in rage, we can flee from it in fear, we can hide from it in shame. A surprising number of people respond with paranoia. Which makes sense. If almost everyone you speak to seems intent on undermining your matchless brilliance, you could be forgiven for thinking the world was out to get you. None of these responses are good. 

Thankfully, in recent years, therapeutic psychology has issued a corrective to the shortcomings of the self-esteem movement. More nuanced practices of self-acceptance and self-compassion, recognise that it is part of being human to not always be as we would like to be, and we will certainly not always be treated as we think we should be treated. A simple grandiose belief in ourselves is too flimsy to endure the buffeting of real life. Self-belief is not enough. 

Accepting acceptance is a radical reorientation of the self because it doesn’t start with us 

Some psychologists have argued that the twentieth century should be named ‘The Century of the Self’, the historical period in which Self replaced other larger concerns, such as Country or God, as the ultimate reference point for good human living. The fact that so many of us unthinkingly endorse the need for self-belief, suggests it is a popular option in our current cultural menu of ways to live with ourselves. But it is difficult not conclude that the cultural currents in which we swim are somehow misaligned, or that we suffer from a widespread lack of imagination if the lynchpin of our aspirations doesn’t really deliver. It makes me wonder if we have taken a wrong turn somewhere. 

The Christian view of all this is that we as human beings, far from being selves to believe in, are the recipients of a radical kind of acceptance. We are not called upon to generate self-acceptance out of thin air. We have been divinely accepted at the deepest possible level, not because we are special or exceptional, but as a gift to us from a generous God. All we have to do is accept that acceptance. Which is harder than it sounds, because we’d rather believe we did it under our own steam.  

Accepting acceptance is a radical reorientation of the self because it doesn’t start with us. It starts with a God who is willing to do whatever it takes to close the distance between us and Him. If God wasn’t like this, if he was vindictive or didn’t care, or if he refused to come anywhere near us until we’d reached the required height of spiritual perfection, there would be absolutely nothing we could do about it. But as it stands, all our attempts to impress God are pretty much useless. There is little point frantically reeling in a god who is already closer to us than we are to ourselves. What’s the point of trying to justify our existence if our existence has already been justified. This is where Christianity begins, but not where it ends.  

Divine acceptance does something more. If self-belief asserts that we are what we are, and no-one can tell us any different; then divine acceptance takes us as we are but refuses to leave us there. Something happens to us when we know that we are known and loved right to our bones. We no longer fear being abandoned because of our flaws, and we start to harbour a growing hope that we may be able to overcome them. Our self-awareness improves, we see ourselves more clearly. We learn to live life dynamically, with nothing left prove, but a lot still to learn.  

Article
Belief
Culture
Film & TV
Identity
5 min read

Wednesday works wonders bringing the outsiders in

Tim Burton’s echoes of C.S. Lewis

Lauren writes on faith, community, and anything else that compels her to open the Notes app. 

Wednesday Adams scowls while Enid smiles.
Wednesday and Enid.

There’s something delightfully ironic about the mainstream success of Wednesday – Netflix’s Addams Family spin-off directed by Tim Burton. With its whimsy gothic aesthetic, star-studded cast and viral TikTok dance to boot, the first season was a highly bingeable hit in 2022. This summer, the split-release of season two scored over 50 million streams in its first five days. But beyond its cult-like reception lies something deeper: a collective reckoning with identity, acceptance and the desire to belong. 

Jenna Ortega’s Wednesday Addams is an outsider among outsiders. Upon returning to Nevermore Academy – a supernatural boarding school meant to be a haven for ‘freaks, monsters and outcasts’ – she finds herself more alienated than ever. Don’t feel sorry for her: she’s difficult, destructive and I’m not sure I’d want to share a dorm with her (or her pet disembodied hand, Thing.) But that’s why we love her so much. 

Wednesday ‘taps into that sense of not quite fitting in that everyone has,’ praised Marina Hyde on her The Rest is Entertainment podcast. ‘We all feel like we’re the kind of excluded weird mad kid from Burbank, as he [Burton] was growing up.’ 

C.S. Lewis termed the phenomena of not quite fitting in as the ‘Inner Ring’ – the unwritten systems of belonging that permeate all areas of life, from early youth into old age. It can neither be fully defined nor totally avoided. Lewis suggests that all people, at some point or another, experience this ‘desire to be inside the local Ring and the terror of being left outside.’ Ultimately, he warns, this pursuit of surface-level or self-furthering belonging ‘will break your hearts unless you break it.’ 

Lewis, one of Christianity’s most profound cultural influencers, was stirring a deeper call among his fellows Christians: to remember that the gospel is not just good news for those sitting comfortably in the pews – it’s good news for those outside. It’s good news for those searching for belonging in a world that prizes conformity and feasts on exclusivity. 

Tim Burton’s genius lies in his ability to reach out, subverting the mainstream and dismantling the Inner Ring, seemingly with ease. Everyone’s an outsider, so no one is an outsider. As in Edward Scissorhands or Jack Skellington from The Nightmare before Christmas, Burton’s decision to not only tolerate but to celebrate the outcast bridges the gap between the socially excluded and socially accepted. 

The sense of belonging that Burton creates doesn’t feel twee, manufactured or forced. It isn’t the sort of embrace that comes under strait-laced conditions, either. He cultivates spaces where the strange, the sad and the misunderstood become protagonists, empowered to tell their own story. He boldly platforms that which is different, unwilling to conform or compromise. Even the visual language of his work is distinct and unashamed, and his trademark scribbled twists and turns that creep into set designs, costumes and title sequences. 

In Wednesday, this contrast is emphasised by a window that is half-spiderweb, half-kaleidoscope, dividing the room that Wednesday shares with Enid, the optimistic and bubbly roommate. They’re an extreme black-cat, golden-retriever pairing who have little in common, except for feeling that they don’t fit in. 

Their desire for belonging and acceptance looks different. Enid cares very much about how others view her, whereas Wednesday’s cold defiance masks her vulnerability to be seen, known and accepted. This symbolic shared space, and the friendship that is imposed upon Wednesday by Enid, signals a deeper truth: belonging is not found in sameness, but in recognising what connects us and how we can honour one another in spite and because of our differences. 

The subversive nature of Burton’s imagined universe holds a dim mirror to the liberating reality of God’s Kingdom.

While Burton elevates the outsider, his worlds often remain solitary and cut-off. But the Church, at its best, offers not just visibility but the embrace of fellowship. Jesus consistently chose people on the margins – lepers, tax collectors, women – and invite them into relationship. The gospel accounts for him taking less efficient travelling routes seemingly to encounter the lonely, the sick and the despised, to share news of their belonging to God, whose love for them was so strong that he would dwell not only among them, but within them through his Spirit. 

The culture of the early church was informed by Jesus’ example, and their meetings were a mosaic of cultural, ethnic and social diversity, brimming with unlikely partnerships and clashes of custom. Paul reaffirmed the concept that all are ‘one in Jesus Christ’ in his letter to the church in Galatia, declaring that ‘there is neither Jew nor Gentile, neither slave nor free, nor is there male and female.’ This is not a call to erasure, but to radical inclusion. Rather than everyone being an outsider, as in Burton’s world, everyone is an insider in the Kingdom of God. 

Perhaps it isn’t about whether Tim Burton or the Church has done more for outsiders, outliers and outcasts, but to invite personal challenge: Am I willing to get used to different? To disturb my norms, routines and expectations in the name of mutual inconvenience? To embrace a little mess and chaos for the sake of greater unity? 

The subversive nature of Burton’s imagined universe holds a dim mirror to the liberating reality of God’s Kingdom, where the last are first, the poor receive a rich inheritance, and the margins become the centre. Where Burton’s audience may find solace in shared strangeness, the gospel offers something greater: a home not built on similarities and commonalities, but on divine welcome and spacious grace. And an unlimited set of keys to welcome others to their room, too. 

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