Explainer
Creed
6 min read

Sorry seems to be the hardest word

We all find ways of not simply saying sorry. Not just former prime ministers. Graham Tomlin unpacks why it’s getting harder to say sorry in our culture.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A politican stands holding a bible, in front of a committee room table. Behind him an audience waits expectantly
Boris Johnson prepares to give evidence to the House of Commons Privileges Committee.

Why is it so hard to say you’re sorry? Over recent weeks we have watched the story unfold of Boris Johnson and the Downing Street parties, his disdain towards the Privileges Committee report suggesting he misled parliament, and his resignation as an MP, insisting he was the victim of a witch-hunt rather than saying he had made a mistake and owning up.

And it’s not just Conservative Prime Ministers. Tony Blair has never quite come clean to say it was a mistake to lead the UK into war against Saddam Hussain on the basis of faulty intelligence on weapons of mass destruction.

Church leaders don’t escape either. Too often in the past, abusers have been shielded and moved on, and when the avoidance is revealed, ways have been found to avoid simply saying sorry. And then we all know the kind of apology that goes “I’m sorry you feel that way” which of course is not an apology at all. 

Saying sorry has always been difficult, but our culture seems to make it even harder. We may not conduct literal witch hunts any more, but we do metaphorical ones.

Confession is difficult. Try it sometime. Next time you make a mistake, resolve to come clean before your friends, your spouse, your partner, your team at work. Confess your sins. Not straightforward, is it? If you find it as hard as I do, then join the club.  

Saying sorry has always been difficult, but our culture seems to make it even harder. We may not conduct literal witch hunts any more, but we do metaphorical ones. If you are found out to have said the wrong thing, admit you have changed your mind, or that you made a horrible mistake, you are likely to get accused of inconsistency, cancelled on social media, sacked from your job, vilified at the court of Twitter. It could mean losing your reputation, your job, your friends and, well, everything.  

A line of books have come out in recent times, pointing out that we live in one of the most censorious of cultures. Andrew Doyle wrote a book called The New Puritans, arguing that identity politics and the social justice movement has spawned a quasi-religious form of cultural revolution, driven by claims to moral purity and tolerating no dissent. Similarly, Noah Rothman wrote The Rise of the New Puritans, identifying progressivism as a movement whose primary goal is to limit happiness. 

They had a strong notion of divine grace which interrupts normal human processes, unlocks hard hearts and kindles new desires in twisted souls. 

Yet perhaps the problem is not so much that we have become too much like the post-reformation Puritans, but that we are fundamentally unlike them. Puritans were a group of Protestants who first emerged in the 16th century, who wanted to ensure that Reformation in England was carried out thoroughly, broadly according to the agenda of John Calvin in Geneva, and not (as they saw it), half-heartedly. The word ‘Puritan’ was in fact invented by the group’s enemies, accusing them of a joyless obsession with purity, an insistence on keeping rules, confessing sins and avoiding pleasures. As always, caricatures tell half, or less than half, of the truth. Of course there were censorious and frowning Puritans, but they also had a profound and ambitious notion of grace and goodness alongside a nuanced moral ecology that we have largely lost.  

The Puritans had a strong notion of the nexus of sin, confession, grace, forgiveness, absolution and the possibility of moral reformation. If your conscience tells you that you had done something wrong, you had best confess it sincerely to God (and possibly to other people as well), which would be followed by the promise of divine forgiveness, which in turn had the potential to bring about a deep change of heart and habit, so that the fault was not repeated again. They had a strong notion of divine grace which interrupts normal human processes, unlocks hard hearts and kindles new desires in twisted souls.    

Now we have lost most of this. If you confess a sin in public, you are very unlikely to receive absolution in the court of Twitter or public esteem. The passing of time may mean people forget what you did and enable some rehabilitation, but forgiveness? Never.  And if you think the likelihood of forgiveness is remote, what is the incentive for confession? You might as well brazen it out, pretend you’ve done nothing wrong, deny all charges, as the alternative is to see your career go down the tubes. 

Moreover, we don’t tend to believe moral change is possible. A leopard never changes his spots, we say with a knowing look. Ex-offenders find it hard to find jobs with a criminal record behind them, and disgraced politicians are unlikely to find a way back into public life.  

We are creatures capable of deep cruelty, malice and selfishness, but also that we are capable of kindness, grace and true humility - that spiritual and moral change is possible.

Now of course there are good reasons for our nervousness about this. Someone with a weakness for booze, sex or vulnerable children might never lose that tendency, and it’s often better to be cautious than to allow an abuser to abuse again. Yet at the same time, Christian moral theology has always held together in some tension a savvy awareness of the depth of human fallibility and self-deception, with a belief in the possibility of deep spiritual and moral change. Christian faith paradoxically holds at the same time the most pessimistic and the most optimistic view of human nature – that we are creatures capable of deep cruelty, malice and selfishness, but also that we are capable of kindness, grace and true humility - that spiritual and moral change is possible. It’s not always easy to spot the genuinely reformed character from the charlatan, but that is where wise discernment and character judgement comes in, holding the tension between naivete and cynicism.   

Back in the day when more people went to church, they at least once a week had an occasion where they were invited to reflect on their sins of the past week, to confess them and receive absolution. That pairing is perhaps the key to the whole thing, and why saying sorry is so hard in contemporary life – because we have not only lost the ability to say sorry, we have also lost the ability to forgive.  

Of course, it’s possible to go through the motions in church of saying you are sorry for your sins. It can be a means of ‘cheap grace’ as the German theologian Dietrich Bonhoeffer used to call it. But we are creatures of habit. Being forced to think back over the past week, the time you spoke to your kids in a harsh way, told a white lie to get out of trouble, or forgot to phone someone who needed help because you were just too busy, somehow alerts you to your own inner mess. Add to that the promise that a heartfelt confession will be met with the pronouncement of genuine pardon, then it makes it just a little easier to say an abject apology to someone else when you need to, not evading the truth, not excusing yourself, just saying you messed up and got it wrong, because you know what’s coming afterwards – forgiveness.  

The dynamic of confession, forgiveness and the possibility of moral change doesn’t take away the need for shrewd judgement of character, but its loss arguably makes it much harder for us to say we are sorry, and are truly repentant.  

Politicians, pundits and other public figures may find it hard to say sorry. And we are perhaps right to expect them to do so. But unless we learn how to forgive, then we will reap a harsh society where ‘sorry’ is not just the hardest, but the rarest word.  

Review
Culture
Film & TV
7 min read

Perpetually present in Palm Springs

A movie's time loop explores the meaning in the mundane.

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here

A young couple lounge on floating rings in a swimming pool.
Cristin Milioti and Andy Samberg ponder time.
Hulu.

I first watched Palm Springs on the evening of my wedding day. It was the very beginning of what would be a peaceful and relaxing honeymoon, sandwiched in-between planning a pandemic wedding and finishing graduate degrees, and planning a move across the Atlantic to Canada, where my husband had just got a job – which was quickly followed by getting pregnant for the first time. Those two weeks were the only restful time we got in the whole of 2021 -- and arguably to date! It felt like time stood still for a while. We walked on Cornish beaches, talked about our future, ate ice-cream. It’s the closest I’ve ever felt to a deep sense of peace.  

It’s quite fitting that, at such a quiet moment in our lives, we watched a film about getting stuck in a time loop at a wedding. Palm Springs’ time loop premise is familiar from cult classics like Groundhog Day. Tala and Abe are getting married on 9th November. An earthquake opens up a strange cave that traps any unwary visitors into a time loop. Nyles, one of the wedding guests and the boyfriend of Tala’s friend Misty (yes, these are their actual names), enters the time loop by accident. Every day, Nyles wakes up in Palm Springs, and every day is 9th November, again, and they’re celebrating Tala and Abe’s wedding, again. He can leave Palm Springs and travel anywhere he likes. But if he falls asleep or dies, the time is reset to the morning of the wedding.  

An undetermined amount of time passes, until two more guests get stuck in time: Abe’s cousin Roy, a middle-aged, disillusioned family man, and later Sarah, Tala’s sister. Roy takes revenge on Nyles by torturing and killing him every few ‘days’; he was lured into the cave by a Nyles high on drugs and is furious that he’ll never get to see his kids grow up. In one iteration of the wedding day, Roy finds Nyles and shoots him with a crossbow. As Nyles re-enters the cave to make the day reset and escape another gruesome death at Roy’s hands, Sarah follows him in, not heeding his warning to stay away. She gets stuck in time, too. 

And here is where the story actually begins. All of this we find out as a shocked Sarah, having woken up on her sister’s wedding day for the second time, goes to Nyles for answers. For the rest of the film, the sci-fi premise is fairly incidental. Palm Springs is really about Nyles and Sarah coming to terms with their brokenness and their longing for permanence as they get stuck in time – and stuck in love. At first, Nyles acts very cynically. He’s been in the time loop for quite a while and fails to see the purpose of his existence. ‘Today, tomorrow, yesterday, it’s all the same’, he says. His advice to newly stuck-in-time Sarah is to simply ‘embrace the fact that nothing matters’. Sarah accepts the invitation, beginning to act erratically. She and Nyles drive around Palm Springs aimlessly, spend their time choreographing an 80s dance, and she even throws him a ‘millionth’ birthday party. In a darker moment, she intentionally gets run over by a truck, hoping – to no avail – to finally escape. They see their lives just like the lost souls in Dante’s Inferno, condemned by sin to relive the same punishment over and over and over again, for all time.  

Love reenchants the aimless and the mundane for them. They’re no longer stuck in hellish infinity. 

But something happens in the process. Because they know they can’t leave, Nyles and Sarah lower their defences. Their relationship essentially works as a marriage: they are stuck in it for the long term, and so they become honest. They get to know each other more deeply than they have ever known anyone, and they come to love each other deeply, too. Suddenly, they are no longer waking up dreading more of the same, but excited to see each other again, and spend another day together.  

Nyles’ disenchantment slowly disappears. When he first met Roy, drinking at the wedding bar, he cynically quoted from T. S. Eliot’s Four Quartets, ‘What might have been and what has been/ Point to one end, which is always present’. But Eliot’s poem is not actually about the dull, hellish, infinite repetition of time. Rather, it’s about our desire to reach out to God’s eternity in heaven. It reminds us that, when we receive God’s grace, we stop experiencing our lives in a linear way, always looking ahead to new experiences and greater achievements, and instead start finding joy in the mundane. Nyles is finally learning this. He now enjoys Eliot’s perpetual ‘present’, because loving Sarah has allowed him to regain a childlike wonder at the world. As G. K. Chesterton argues in his wonderful book Orthodoxy, ‘Because children have abounding vitality’ they do not tire of repetition, but rather ‘want things repeated and unchanged’: 

They always say, “Do it again”; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony.  

Roy has learnt this, too. He stops trying to torture Nyles, and rather starts appreciating being able to spend every day – albeit the same day – with his wife and children. When Nyles visits him at his family home, it’s clear that Roy no longer sees repetition as a punishment, and that he’s found a sense of peace.  

Finally, Nyles and Sarah realise that the time loop has instead given them the chance to mend their wounds, and come to terms with their mistakes. In a moment of despair, Sarah runs Roy over, causing him several injuries. ‘Nothing matters’, she tells Nyles as an excuse. But Nyles no longer agrees. ‘No. Pain matters!’, he tells her. ‘What we do to other people matters…It doesn’t matter that everything resets and people don’t remember. We remember. We have to deal with the things that we do.’  

That’s exactly what Sarah spends the rest of the film doing. She deals with the consequences of her actions and attempts to repair her relationship with her sister Tala, whom – without giving away exactly what happens – she had deeply hurt and betrayed.  

I won’t spoil for you whether Nyles and Sarah ever manage to escape the time loop and return to ‘real’ life, but that’s almost besides the point. But I will tell you that they stay together through it all (this is a rom-com as well as a sci-fi film after all…).  

Love reenchants the aimless and the mundane for them. They’re no longer stuck in hellish infinity, but are rather looking ahead to the kind of eternal peace we hope to find in heaven, just like I did on my honeymoon.  

I recently rewatched Palm Springs, a newborn baby girl in my arms, and it reminded me of when my other child, my son, was first born back in 2022. I remember walking down the street in downtown Toronto, where I was then living, and telling my mother that I felt like I was experiencing a taste of eternity. She was understandably confused by my sleep-deprivation-induced philosophical musings, but there was a reason I said that. Just as time had expanded on my honeymoon, each day feeling like everything stood still, and yet each day so full of variety, so the newborn days of my first experience of motherhood were both very busy and very quiet. But while my honeymoon had decidedly felt like a foretaste of heavenly peace, motherhood has been more complex than that. Sometimes it’s so repetitive that it can seem aimless – ‘how is his nappy full again?’ I often ask myself – and in this it can appear as static as Dante’s hell. As adults, it is very difficult to recapture the kind of joy and delight in repetition that Chesterton writes about. It can really feel like you’re stuck in a loop, every day bringing more of the same, more nappies, more bath time, and more baby food thrown at the wall. But motherhood is also full of the endlessly new little joys. When my son says a new word for the first time, or when my newborn daughter looks at me and smiles, I think that I’d be happy to relive this day forever, just like Roy.  

Although I’m not actually stuck in a time loop like Sarah and Nyles in Palm Springs, it can sometimes feel that way. But perhaps it’s good thing. Perhaps that’s what reminds me that being a good parent means getting tired of your kids by the end of the day, then waking up the next morning, and loving them all over again. That’s what being a parent means, and that’s what marriage means, too. As Nyles says to Sarah right before they enter the cave for the last time, unsure if they’ll see each other, and whether their relationship can survive the mundane reality of domestic life, ‘We’re already sick of each other. It’s the best.’