Explainer

Creed

Football

Providence

Sport

Trust

19 August 2023

7 min read

Thrill and trust in an unpredictable world

When Saturday comes, Graham Tomlin is enthralled by sport's unpredictability. Yet in an uncontrollable world, he finds a need for trust.

Graham Tomlin

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

Two footballers run in step as one tries to tackle the other

Spain and England: finalists in the 2023 Women's World Cup.

FIFA

Sport was once something you did for fun. Now it has become one of the world's great industries. 'Sportswashing' is a thing now - nations buy up clubs, franchises or invest in sporting ventures from LIV golf to football clubs to Formula One, to make their regimes look good.

But why is it that sport engages us so? Why do we bite our nails as the ninetieth minute draws near, we are only 1-0 up and the opposition threatens to score an equaliser any minute? Surely it is because this is one area of life where the outcome remains stubbornly out of our control.

You can never quite predict the result of any match. And the best games always exist on that knife edge. This summer, after five Ashes Tests, with five days for each Test, 3 sessions a day, so 75 sessions of cricket in total, when the players went into the very last session with the result of the whole series still in the balance, it was the best of sporting enjoyment, precisely because no-one could predict what would happen.

And the exceptions to that statement prove the rule. When the result is almost certain - if Manchester City were to play Forest Green Rovers for example - then it takes the fun out of it. In fact, much of the disillusionment that creeps into modern sport comes when money appears to skew the unpredictability of it all. When clubs are backed with the resources of an entire Gulf State in an attempt to control the outcome of a league by the use of something not intrinsic to sport itself, then something seems wrong.

A couple of years ago, the German sociologist Hartmut Rosa wrote an intriguing book called The Uncontrollability of Life. Modern life, he argued, is marked by a drive to master and control as much of the world as possible. We manage the economy to try to ensure constant growth; we corral all the information we can, so it sits in our pockets available at any moment; we minimise risk by actuarial calculations; we develop algorithms that deliver exactly the content that the consumer wants. When we see a mountain, we want to climb it; when we get on the scales we want to lose weight; when we have a headache want to get rid of it. Life has become an endless to-do list. We try to control life from birth through to death, through contraception and abortion, managing our children’s education to ensure success in life, even trying to control death by ‘assisted dying’ that enables us to choose the time and manner of our own demise.

We try to manage and control everything, but life, and joy, remain elusive and tantalisingly out of our control.

And yet, he argues, it is the very unpredictability and uncontrollability of life that makes it interesting. It’s when we are surprised – by a sudden fall of snow, or by the smell of freshly cut grass, or a joke that makes us laugh – that we feel the delight and joy of life. If we were able to make it snow whenever we chose – as when a machine pumps out fake snow in a ski resort going through a warm spell – there is no great enchantment in that. If we knew the result of every football match before it started, there would be little point in playing at all.

We try to manage and control everything, but life, and joy, remain elusive and tantalisingly out of our control. You can pay for tickets to a concert but never quite know whether the music will stir your soul or leave you cold. You can pay for a holiday but can’t ensure it doesn’t rain, that there isn’t a ten-mile traffic jam on the way, or that the neighbours in the next apartment aren’t noisy.

Yet it is exactly the moments that we don’t control that make life worth living – chancing on an unexpectedly stunning sunset, meeting a friend by surprise, falling in love, hearing a new song that touches your heart. And the point is you can’t control these things. If you could, they would lose the magic.

And that, Rosa says, is the problem and tension at the heart of modern life. On the one hand we try to control everything, to make the world safer, more fair, more predictable. And that’s not a bad thing. We want to make the world more just, to eliminate random accidents or stupid mistakes. Yet the more we control, the more we evacuate the world of what makes it enchanting and enthralling.

Yet it’s more than just unpredictability. We need, he suggests, to feel that the world out there responds to us, ‘calls us’, talks back to us in some way - so that we feel what he calls ‘resonance’ with it. We need to establish a relationship with the world, or events that happen to us, that lies somewhere between us controlling everything, or us being totally at the whim of what is out of our control.

Wisdom, it seems, comes from getting the boundary right between the controllable and the uncontrollable.

Perhaps in the infancy of the human race, we were totally at the mercy of climate, wild animals, infertile soil, struggling to survive against the odds. Now we are in danger of going to the other extreme of trying to manage everything, so the world becomes an inert, controlled, docile thing. Wisdom, it seems, comes from getting the boundary right between the controllable and the uncontrollable.

It's a fascinating and persuasive analysis of modern life. But let me take his thought a little further.

If we need the world to be responsive to us, for it to surprise us by ‘talking back’ as it were, it is hard to imagine such a thing happening if the world is simply an inert substance with nothing behind it. However much we may want a responsive relationship with the world, it is difficult to conceive of this on a purely materialist understanding of things.

For all the new age talk of ‘mother earth’ or the ‘Gaia hypothesis’ which attributes some kind of will and intention to the earth, surely we can only have a relationship with the world if there is someone (not just something) there to have a relationship with, some mind, heart or intelligence behind it all. After all, even the Greeks thought Gaia was not just another word for planet earth, as modern ecological secularists have it, but a god who shaped the universe to her liking. If it’s true that we flourish best when there is a resonant, reciprocal relationship between us and the world outside, then does it not make more sense to believe there is someone, not just something out there, calling to us, responding to us?

Even more, what if the world is a cold, heartless, meaningless place? What is there is no order or structure behind it? What if it is coldly indifferent to us and our plight? If we are to establish a relationship with what is out there, rather than being at the mercy of it, or seeking to control it, then we need to be able to trust that what we are reaching out to is at least friendly to us. Rosa’s optimistic outlook, beckoning us to resonance, a relationship of mutual discovery, able to be touched or moved by the world, seems to assume that what we will discover out there is fundamentally to be trusted rather than feared.

Christians have always held that behind the appearance of things, there is someone out there to ‘talk back’ to us, with whom we can resonate, and that that ‘someone’ is fundamentally good, because, despite the confusion of the world, the mixed messages it sends us due to its brokenness, we have seen the clue to what lies behind the mystery in the face of Jesus Christ.

Living in this unpredictable world, one where we cannot control everything (nor should we try to) means, as Rosa points out, learning to accept it, not getting frustrated when we can’t control everything; learning the ability to take the vagaries and vicissitudes of life as they come, without getting angry or annoyed. Yet we can only do that with a degree of confidence when we can trust that what is out of our control is ultimately under the hand of a God who has our best interests at heart.

I may not be able to predict the result when Bristol City play on Saturday afternoon. Much as I'd like to, I’m actually glad I can’t as it would hardly be worth watching. But it makes a difference when I can trust that behind the changes and chances of what happens to us (and this, thankfully, stretches far beyond football) there is a mind and a heart that knows me and cares what happens to me – and not just me, but my neighbour and the future of the entire universe.

Review

Culture

Film & TV

7 August 2024

9 min read

Deadpool and Wolverine admit there’s only one story worth telling

Here's why a knowing take on post-modernity's void strikes a chord.

James Lawrence

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

Two superheroes, deadpool and Wolverine, stand and crouch respectively, in a desert like place.

'A desert of criticism and a wasteland of cynicism.'

Disney.

Can Marvel Jesus save a dying cinematic universe? That's the key question for the latest film from Marvel Studios and, it would seem at least from the box office, that the answer is: yes!

Deadpool & Wolverine, the snarky buddy comedy odd-ball team-up between Ryan Reynolds and Hugh Jackman, made over $590 million in its first week. That’s the sixth biggest opening of all time.

What follows is not a traditional review, you can find plenty of those online already. Instead, I want us to consider Deadpool & Wolverine as a cultural artefact that displays some of the key themes of our society. The stories that we tell, including the films that Hollywood produces, can act as a mirror to our culture, giving us an opportunity to see trends that we might have otherwise missed. 

As a mirror to this cultural moment, I want to suggest that Deadpool & Wolverine presents us with a cynical and nihilistic take on the end of an era in which all the protagonists can do is barrage the audience with an endless stream of jokes and quips.

The third instalment of the Deadpool trilogy is the first to be set in the Marvel Cinematic Universe (MCU) since Disney acquired the rights to 20th Century Fox for $71.3 billion. Until now all the X-men movies, the Wolverine movies, the prequels and the Deadpool movies have been produced by 20th Century Fox. But it’s the start of a new chapter for the X-men franchise.

The Disney executives hope for a new lease of life for the MCU, which has been struggling to find its way ever since the epic conclusion to Avengers: End Game. Of course, ordinarily, this sort of corporate back and forth would be irrelevant when thinking about the themes of a movie, but, in this case, the business backdrop is effectively a major plot-point of the film.

A significant portion of the dialogue is spent discussing the acquisition of the X-men franchise by Disney. Deadpool talks about what Kevin Feige (president of Marvel Studios) will and won’t allow in his films. A major action set-piece takes place next to a ruin of the 20th Century Fox logo. Deadpool jokes with Wolverine that he is joined the MCU when they are in a bit of a slump, and, when Deadpool is asked to save the universe, he takes this to mean that he should save the entire MCU franchise describing himself as ‘Marvel Jesus’. The movie knows that this film is the product of a business deal, and it wants its audience to know that too.

So, this film takes place at the end of an era and to highlight this throughout the film, a series of high-profile cameos are made by actors and characters from the last 24 years (no spoilers here). They are brought into the movie so that they might be given a final send off. A heroic on camera action hero death, one last valiant fight before the curtain falls. In a sense, Deadpool & Wolverine is a eulogy to the comic film industry, an era has passed away, we live only in the ruins of a once great edifice and all we can do is joke around and reminisce about the good old days

Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

The scepticism Deadpool and Wolverine exhibits about the movie industry, correlates neatly with a post-modern disposition to be suspicious about the role of power. Deadpool knows, and points out to his audience, that it is only the vested interests of corporate power that allow this film to take place, and he revels with delight when these corporations seem to be failing. He is under no illusions that the studios are benign entities who merely hope to make worthwhile art - Deadpool is a cynic, the jester, who takes great satisfaction in declaring that the emperor has no clothes.

Coupled with this is the constant breaking of the fourth wall. This is one of Deadpool’s foundational characteristics, he has been breaking the fourth wall since his earliest appearance in the comics and the previous two films. Deadpool uses this ability to deconstruct and point out some of the quirks of the superhero genre. For example, in the first film when a villain jumps into the scene from a great height, Deadpool says to the audience: “Superhero landing. She's gonna do a superhero landing… You know, that's really hard on your knees.” (This joke is repeated in Deadpool & Wolverine).

The deconstructionist tone contrasts sharply with Marvel’s previous movies, particularly the grand narrative which spanned 22 films and culminated in Avengers: Endgame- an unashamed mythic narrative about the defeat of evil and the triumph of good over bad. Yes, there were jokes and subversive elements in the MCU before Deadpool, but in the main the characters like Captain America are sincere and the movie takes them and their motivations seriously. Deadpool in contrast delights in deconstructing the narrative: Marvel’s grand narrative is over, Fox’s cinematic universe is over, and it is unclear if they will be able to successfully tell another epic mythic story.

All of this, I imagine, sounds quite dystopian and that is not just how the film feels but also serves as the set piece for the middle section of the story. The misadventure of Deadpool & Wolverine lands both characters in “the void at the end of time” a place described as a Mad Max set, a barren desert where only the strongest survive by dominating the weak. In this hellish environment, Deadpool is completely unphased, he continues to make joke after joke, despite multiple characters in the movie telling him to ‘shut up’, and he displays zero remorse when his joking around results in other characters being killed. The humour of this film is the final element which makes it feel very post-modern and nihilistic. Deadpool and Wolverine are left in a hellscape and all they can do is fight with one another and make non-stop sarcastic quips. Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

Paul Ricoeur, the French Christian and philosopher describes in his work two instincts in modernity: a ‘willingness to listen’ and a ‘willingness to suspect.’ The willingness to suspect is best exemplified by the three ‘masters of suspicion’, Karl Marx, Friedrich Nietzsche and Sigmund Freud. Following these masters of suspicion, modernity has learnt to be critical and to criticise texts, narratives, motives and power. Ricoeur thinks that we need both instincts, we need to be able to listen and we should be able to suspect, but, he cautions post-modern society that it is possible to find yourself in a desert of criticism in which there is nothing symbolic, nothing sacred, nothing but power and will. I have never seen a better depiction of the ‘desert of criticism’ put to film than Deadpool’s void at the end of time.

Perhaps the film is doing this because this is, in fact, the only story worth telling.

All of this was bubbling around in the back of my head when the film came to its final climax. It is my experience of the finale that made me want to write this review of the film. After almost two hours of post-modern nihilism, in the denouement, our two protagonists are faced with the classic superhero choice to sacrifice themselves so that they can save their universe from imminent destruction. And, of course, like good superheroes, they go willingly into danger and give up their lives for the sake of their friends.

I had such a strange set of emotions as I watched this part of the story unfold.

Firstly, I thought “Oh, right, this is the moment when the hero sacrifices himself- that is obviously what comes next.” I have been conditioned by decades of superhero films to expect this sequence of events at the end of the movie. But secondly, I found myself thinking. “This is so out of place with the rest of the film, this is pure sentimental heroics, we’ve just had two hours of cynicism and fourth wall breaking and the climax of the whole thing is a traditional superhero ending?!” And then, lastly, I found myself wonderful, ‘Perhaps the film is doing this because this is, in fact, the only story worth telling- that everything up to this point has only been playing at cynicism because, at a fundamental level, the filmmakers realise that cynicism and scepticism aren’t enough to make a compelling story.”

Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story.

Deadpool & Wolverine is a strikingly resonant film, it has struck a chord with contemporary culture. The film offers us a mirror to the contemporary society in which we live and I think we must look deeply into the mirror if we are going to accurately diagnose the ills of our current cultural moment.

Many people today feel like they are living in a desert at the end of time, devoid of meaningful symbolism and sustenance for the soul. The hollowing out of meaning in post-modern Western culture has resulted in a tinderbox which is ready to combust at a moment's notice. “Over the last month we have seen riots breakout across England caused by an incident in Southport that sent sparks flying.”. Relatedly, contemporary Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. Look at the average Netflix viewing figures to discover that many of us only enjoy watching re-runs of our favourite TV shows from 10 years ago.

The cynicism and scepticism of Deadpool & Wolverine resonates with many people in the contemporary West, and the film offers two ways of reacting to the pain of our cultural moment.

For most of the film Deadpool saunters through this nihilistic hellscape spouting a barrage of gags, sex-jokes and sarcastic quips- that is the first option, to laugh in the face of meaninglessness. But for the climax of the movie, it’s as if the writers knew that they couldn’t maintain the ruse. When the characters of Deadpool and Wolverine make the choice to sacrifice themselves for the sake of others they choose to live for something bigger than themselves. They admit in their actions that they aren’t the nihilists they were pretending to be, and the film acknowledges that in the final analysis there is nothing ultimately satisfying, nothing ultimately sustaining, in that way of being in the world.

Or, to put it another way, the only way that Deadpool could become ‘Marvel Jesus’ is by following in the footsteps of actual Jesus: by sacrificing his life for those whom he loved and by discovering that true life, resurrection life, is always and only ever found on the far side of death.

Paul Ricoeur writes that ‘beyond the desert of criticism, we wish to be called again’, called to a second, or post-critical naïveté. Naivete is a deliberately provocative term to use, no one wants to be considered naïve (even postcritically naïve!), so perhaps you might prefer to think of it as synonymous with restored or as experiencing a recollection of meaning. I think many people in the West today are waking up to the challenge of living in a desert of criticism and a wasteland of cynicism. The capacity to criticise is an important skill, but it has run rampant and left out society with a void of meaning in which nothing is sacred, nothing is enchanted.

Deadpool & Wolverine speaks of a culture desperately in need of a new story, a narrative within which meaning can be found. The film paints in vivid imagery the result of a society that has lost its narrative. And, in the end, Deadpool and Wolverine seems to admit that there is only one story worth telling: self-sacrificial death and resurrection.