Column
Culture
Football
Humility
Sport
4 min read

We're pretty useless really

We all fail. Not just Southgate, Biden and Sunak.

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

A dejected looking football manager ponders his feet while standing beside a pitch.
Southgate contemplates.

The Book of Heroic Failures, published by Stephen Pile in 1979, records a story of the Welsh Dean of St Asaph, Daniel Price, in the late 17th century. Contemporary biographer John Aubrey noted that Price was a “mighty Pontificall proud man.” 

So proud that he declined to parade on foot outside his cathedral, but rather rode a mare in full vestments, reading from the Book of Common Prayer. Aubrey with precise economy describes what happened next: “A stallion happened to break loose, and smelled the mare, and ran and leapt her, and held the reverend dean all the time so hard in his embraces, that he could not get off till the horse had done his business.” 

Unsurprisingly, Aubrey records that the good Dean “would never ride in procession afterwards.” He had clearly learned a lesson in humility. And one that would not have been taught had his ride passed with pompous dignity. 

A question arises, pertinent for events today, as to whether we learn more from the indignity of failure than from the fruits of success. I’d like to suggest that we do, especially about the nature of our human condition. 

Humans are pretty useless really and our default position is error and falling short.

No one doubts that had England won the European Football Championship it would have been the crowning adornment to manager Gareth Southgate’s career. England failed to do that, though we failed less than any other team (Spain doesn’t count because they didn’t fail at all). Now that Southgate has resigned and has time to reflect at leisure, perhaps he will learn at least as much and possibly very much more about himself than if he had raised the trophy. 

US president Joe Biden would have had an altogether greater reckoning to face if he lost the election to Donald Trump than if he won it. Now he’s quit the race, arguably he has much more to learn from reflecting on his life and achievements. The Conservative Party has many lessons to learn about its 14 years in power from its abject defeat at the polls. Indeed, many parliamentary Tories believe that defeat was a requisite event for its reformation to proceed. 

None of this is to suggest that failure of itself is a virtue. Nor is it just a morality tale that enjoins us to meet triumph and disaster and “treat those two impostors just the same”. A failed marriage, or failing health, or moral failures of a wider variety, cause destructive pain and trauma. 

But it is to acknowledge that failure is part of the natural human condition. We’re in the territory of a flawed, fallen humanity here, one that theologians call postlapsarian, that is fallen from an ideal of perfection as dramatically portrayed in the Garden of Eden. Humans are pretty useless really and our default position is error and falling short. 

Loss of innocence, injustice and failure meet in unholy alliance at Golgotha.

This isn’t, or should not be, depressing. At least not for people of faith, because it reflects the nature of humanity. Failure, if you will, is a gift of God in a fallen creation. We learn more from our failures than our successes, which is either a biological determinism in evolution or a means through which we strive for a new perfection. There’s a version of that they may be reciting to the England football team right now. 

Christian faith sometimes concentrates too often on triumph over death and the idea of a heavenly kingdom where all is well, at the expense of recognising the reality of our world in which most things are very far indeed from well.  

We might recognise it in a congregational tendency to skip over Good Friday to Easter morning. If we do so, we neglect to notice what an abject failure the insurgent Jesus movement was on its short journey of break-up from Jerusalem to Calvary. It, literally, dies. 

Yes, we know what happens next. Or do we? The first witnesses to it certainly struggle to explain it in a manner that we might comprehend. But, in any event, loss of innocence, injustice and failure meet in unholy alliance at Golgotha. 

The theologian John Macquarrie asks what happens if we feel compelled to draw the bottom line under the cross: “Would that destroy the whole fabric of faith in Christ? I do not think so, for the two great distinctive Christian affirmations would remain untouched – God is love, and God is revealed in Jesus Christ. These two affirmations would stand even if there were no mysteries beyond Calvary.” 

No, our story doesn’t end there. But we can acknowledge that this is where we live in this world, at the foot of that cross. As the 17th-century French philosopher Blaise Pascal put it, the Christ “will be in agony until the end of the world.” 

Let’s not be too miserable, because we do have the “mysteries beyond Calvary”. And let’s celebrate our earthly successes. But let’s also learn to embrace our failures and receive them as a gift, from football to politics. 

Review
Culture
Death & life
Digital
Film & TV
6 min read

Mickey 17: If we replicate then where does our humanity lie?

Bong Joon-ho has a stark warning about dehumanization.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Two cloned humans stand side by side.
Warner Bros.

One of my favourite films of the last decade was Bong Joon-ho’s Parasite, a groundbreaking masterpiece in social commentary, humour and suspense. It won four Academy Awards in 2020, including Best Film - which was a first for a non-English language film - as well as numerous other accolades. So, when the director’s latest project, Mickey 17, was announced, I was eager to see if Bong could deliver another cinematic triumph of similar beauty, depth and precision.  

Mickey 17 took me by surprise. To be honest, the change in genre took some adjusting to, but as I recalibrated my expectations, I realised that the film nevertheless retained Bong’s trademark thought-provoking and daring exploration of identity, purpose and the human condition.  

Mickey 17 is in fact the eighth major film from Bong Joon Ho, but he is probably best known for Snowpiercer and Parasite. These films share common themes, particularly the stark divide between rich and poor and the rigid, two-tier nature of human society. In Parasite, we see the poor trapped in the flood plains of Seoul while the elite live in grand houses on hills. The film is structured around the visual metaphor of descent and ascent. In Snowpiercer, the class struggle is represented by the different carriages of the train, with the poor at the back of the train suffering in squalor while the privileged at the front enjoy luxury. 

Us and them 

In Mickey 17, this theme of societal hierarchy continues but in a futuristic, intergalactic setting. The divide now exists between the expendables—a class of human clones used for dangerous tasks—and the higher echelons of the spaceship crew, who are embarking on a mission to colonize a new planet.  

Mickey’s journey to the spaceship begins in poverty. He and a supposed friend start a business, funding it through a loan shark. When the business fails, the loan shark threatens their lives. Desperate, Mickey signs up for the space expedition, barely reading the fine print—only to discover that he has agreed to be an expendable. 

All expendables are humans who have been digitized – their entire bodies, brains, and psychologies are stored as data. When they die, they are simply reprinted, with only a week’s worth of memory lost. They exist to perform dangerous tasks such as testing the effects of radiation exposure, new vaccines, or extreme planetary conditions. In Mickey’s case, he has been fatally experimented on 16 times. He has been resurrected to his seventeenth version, and while he is still called Mickey, the question is whether this Mickey is the same Mickey who signed up for the space mission in the first place.  

What does it mean to be human? 

One of the film’s central philosophical questions is: What makes someone human? Mickey is biologically and mentally identical to himself, yet each iteration has a different personality. Some versions of him are more caring, others more aggressive or anxious. If he is just a replica, then where does his humanity lie? Is he just a product of his genetic code, or is there something more—something intangible—that makes him who he is? 

It is the same question that has been asked since the beginning of time. The Bible claims that the first human beings were created in the image of God, but what does that mean? Did that first iteration of humankind have the same power, the same worth, the same purpose as God? This was the forbidden fruit dilemma – Adam and Eve were already like God, but the serpent tempts them to eat the fruit so they could be like God in a different way.  

In our technologically advanced world, we are faced with the same fundamental difficulty in defining personhood: are we physical and spiritual beings with intrinsic dignity, infinite worth and unique purpose, or are we just biological replications existing for pre-programmed functions. If human cloning were to become common practice, would each clone be truly human?  

What is a human life worth? 

As far as the ship’s crew is concerned, Mickey is expendable. His pain, suffering, and even his existence are secondary to the mission. While the crew pursue the possibility of extending their own influence and power by colonising another planet, the expendables have no influence or power at all. The portrayal of this devaluing of human life is the most challenging of themes in Bong’s most popular films. In Parasite, the poor are only useful to the rich until they become an inconvenience. In Snowpiercer, the people at the back of the train serve those at the front, but they are seen as disposable. In Mickey 17, this exploitation is taken to its extreme—Mickey’s entire purpose is to die over and over again for the good of others. 

In a world that often assigns value based on productivity, Mickey 17 provides a stark warning about dehumanization. If we begin to measure worth based on what someone can do rather than who they are, we risk treating people as commodities. The Adam and Eve story turns that on its head. They were declared ‘good’ before they were given their roles to take care of one another and creation. Their function was an overflow of their dignity, not the other way around. And even after the forbidden fruit incident where the world was infected with sin and death there is a thread that reminds us that each life is precious. The Psalms declares that each of us is “fearfully and wonderfully made”. Jesus spent his life upholding the dignity of those society deemed inconvenient and expendable – the poor, sick and marginalised.  

What does death achieve? 

Despite dying multiple times, Mickey still fears death. Even though he knows he will be reprinted, the experience remains terrifying. No amount of technology, it seems, can remove the instinctive human fear of mortality. In fact the question that everybody that has contact with Mickey wants to ask is what death feels like, because everyone, whether a friend or simply a user of Mickey has to confront their own mortality. 
In the final act, Mickey makes a choice. Instead of living in an endless cycle of death and resurrection, he chooses to grow old with one person. He destroys the only means by which he could achieve immortality. The film is suggesting that relationship is more important that reusability. Finiteness—the ability to die permanently—is part of what makes life meaningful. 

The Bible teaches that there is an Adam 2.0. While the first Adam brought sin and death into the world, the second Adam – Jesus – brought redemption and eternal life. Both Jesus and Mickey choose death to break the cycle of suffering. But while Mickey chooses to abandon his contract as an expendable, Jesus willingly became expendable for the sake of others. His death was a once-for-all sacrifice that broke the power of death for all.  

What about resurrection? 

If there is life beyond this life what does it look like? Is it merely reprinting? A chance to try again? Or is there, as Adam 2.0 leads us to believe, a resurrection into a whole new world that even science fiction cannot begin to imagine? 

At its heart, Mickey 17 asks profound existential and ethical questions. It forces us to confront what it means to be human, what that human life is worth and how we deal with our mortality. It doesn’t provide us with answers but it invites us to wrestle with these crucial ideas. And in doing so, it points us back to the only hope that is worth having: a view of life where value is not earned, our existence is not expendable, and death is not the end. 

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