What's good – and bad – about cancel culture?

An ancient story of compassion inspires an ethical response to social censure.

Erin Crider

Erin studies and explains modern churches. She is an Adjunct Professor of Biblical Studies at Gordon-Conwell Theological Seminary.

Torn fly posters layered under graffiti on a wall.

Ripped-off posters and graffiti.

Jazmin Quaynor, via Unsplash.

You cannot ignore cancel culture today. In her 2022 BBC Reith Lecture, the writer Chiamanda Ngoni Adichie called it “social censure”. Even beyond universities and other public forums, many of us worry about the effects of cancel culture in everyday social settings. Saying the wrong thing, or trying to respond well when someone else does, can quickly lead to awkward family gatherings, strained meetings, and broken friendships, or awaken the ever-present social media trolls. In a post-pandemic moment, when people are already struggling to re-establish healthy human interactions, cancel culture can make social engagement seem even more challenging. How can we navigate this moment well?

Behind the fraught discussions and growing angst around cancel culture, we can perhaps detect something well worth preserving: compassion. Some of the most heated controversies today involve language concerning people who have been historically disadvantaged. Genuine compassion motivates many who want society to speak more kindly, with more understanding, in order to avoid perpetuating harm to people who have already suffered. People who have been hurt deserve to be acknowledged, and that means taking their pain seriously. This compassion is an important and noble instinct. Many faith traditions call us to honor the vulnerable and pursue justice.

'Silence out of fear of ending a relationship itself ends the relationship.'

At the same time, resistance to cancel culture also includes an element of compassion. Within the voices expressing concern about cancel culture can often be heard a humble awareness that we all are prone to say the wrong thing at times. We cannot hope to learn or grow without honest risk and mutual, human grace. A brief period of silence to let emotions cool can be helpful; ending a relationship permanently seems less helpful. It might seem easier to say nothing than to risk offence, but silence out of fear of ending a relationship itself ends the relationship. Seeking to continue a difficult but important conversation can also be an important and noble instinct. Many faith traditions also encourage humble self-assessment and generous engagement with others. As the Bible records Jesus saying, “Let the one among you who is without sin cast the first stone.” None of us is wholly above reproach, and we all need a bit of compassionate grace.

So how do we balance these conflicting calls of justice and grace?

This conflict might seem peculiarly modern, but in the story we re-tell every Christmas, we see a young man named Joseph wondering how to balance justice with gracious concern for someone who had deeply disappointed him. Joseph is engaged to Mary, but she has been found to be pregnant. Joseph is sure the baby isn’t his. In their culture, a woman who was pregnant outside of marriage brought shame to her fiancé, her family, and the whole community. Matthew’s gospel tells us that Joseph was “a righteous man,” which means that he appreciated the demands of justice. Ignoring her situation meant ignoring the pain they all felt, papering over a grave offense which they wanted no part of. At the same time, though, the text also tells us that Joseph was “unwilling to put her to shame.” Like many people today, Joseph wanted to leave Mary some way to move forward with her life, but their culture did not provide people much opportunity to learn from tragic mistakes. Sometimes, it can feel as if ours doesn’t, either. If you’re familiar with the story, you already know how it ends, but it’s important not to skip too quickly past Joseph’s dilemma. It feels strangely modern, Joseph’s desire for justice coupled with his equally strong desire not to see someone condemned because of a single mistake.

'Courageous compassion creates much needed opportunities to heal, learn, and grow.'

Thankfully, the story also describes a way forward from Joseph’s dilemma: the baby in Mary’s womb, Jesus. In Jesus, we see the depth of God’s compassion for all who suffer. Jesus never ignored the painful consequences evil can create. Indeed, he allowed himself to experience the absolute worst of humanity. As an adult, Jesus was thrown out of his home village and religious community. According to the gospels, he endured one of the most unjust trials ever recorded. Jesus was tortured, beaten, and sentenced to a cruel death. When we suffer injustice, we are not experiencing something alien to Jesus, and therefore, alien to God.

But there is another side to Jesus’ suffering that is equally important: Jesus also demonstrates profound compassion for people have made terrible mistakes. Jesus never mis-stepped or said a single cruel word, but he allowed himself to experience the full shame and isolation of being cast out of society. Crucifixion was the ultimate censure, being publicly put to death outside of the walls of the city. Yet even in this moment, Jesus demonstrated compassion for people who had harmed him. While on the cross, he forgave those who put him there. Jesus offered forgiveness to the man dying on the next cross to his own, who by his own admission deserved his fate. In contrast to aspects of cancel culture, Jesus’ actions at that moment of extreme injustice tell us that human redemption is always possible. Jesus created a compassionate way forward from guilt and shame. Whatever our situation, we can find life-giving grace and healing in Christ.

Compassion isn’t easy. It cost Jesus dearly, and at times it will cost us, too. Courageous compassion creates much needed opportunities to heal, learn, and grow. When we suffer and when we err, cruelty and failure do not get the last word. As it says in the last few pages of the Bible, Jesus is making all things new. Cancel culture ends conversations and damages relationships, but a better balance between the righteous demands of justice and the need for redemptive grace remains possible.

Review

Books

Culture

Ethics

Film & TV

8 November 2024

4 min read

Small Things Like These: putting the spotlight on backstage goodness

What it means for a film to be good.

Kevin Hargaden

Kevin is a social theologian studying ethics and economics.

The gaunt face of a dishevelled man stares into the distance

A ‘stellar’ Cillian Murphy plays Bill Furlong.

Lionsgate.

Small Things Like These is a novella by the Irish writer Claire Keegan. Published in 2021, it compresses a remarkable story into 128 pages. Acclaimed widely by critics and readers, it follows Bill Furlong, a fuel merchant living in the small County Wexford town of New Ross in 1986, as Christmas approaches. While delivering coal to the local convent, Bill makes an alarming discovery. Memories of his childhood begin to press in on him and he finds himself in an existential crisis.

Like her previous (very short) work, Foster, Small Things Like These is an understated book with a searing moral clarity. And just as Foster was adapted for the screen – in the astonishing Irish-language film The Quiet Girl – a movie version of Small Things Like These is now likely showing at a cinema near you.

The movie is built around a stellar performance from Cillian Murphy. It would be criminal if his name is not featured among the shortlists when awards season comes round. Many of the film’s most arresting scenes feature close-ups of his face as Bill wrestles with the implications of his discovery and the phantoms of his past. The effect is that the film serves as an almost literal portrait of what it means to be a decent person.

The story begins with Bill making a delivery to the convent. He sees a mother drop off her screaming daughter to the back door, where she is met and manhandled inside by a nun. The teenager protests passionately, but to no avail. The viewer understands that this girl has “fallen pregnant”, to use the Hiberno-English idiom that was so common in the twentieth century. She has been dispatched by her family to this institution to serve out the months of pregnancy and to remove any shame or taint from their reputation. Bill watches as the girl shouts out for her father, who is entirely absent.

And, after a tense interaction with an aggressive nun, he goes home to his five girls and his wife, clearly shaken.

A few days later, unable to sleep, haunted by memories of his own childhood being raised by a single mother, with an absent father, relying on the kindness of a wealthy local landowner, he begins his deliveries before dawn. As he deposits peat briquettes in the coal shed of the convent, he discovers a teenaged girl abandoned in the corner of the tiny, filthy room. She is in deep distress and Bill responds instinctively, wrapping his coat around her shoulders and bringing her inside to the convent.

While the existence of Magdalene Laundries and Mother and Baby Homes were not a secret in twentieth century Ireland, the exact details of their operations were not widely understood. With these two encounters, so close together, and his own personal biography as the son of a woman who was subject to exactly the same marginalising dynamics, Bill can no longer be satisfied to turn a blind eye to the oppression and alienation endured by those sent for reformation.

It evokes the ways in which all such systems of oppression are socially constructed and maintained. Otherwise, good people learn to look the other way.

The film gathers momentum as Bill is forced to confront the way his mother had been treated for “falling pregnant” and the reality experienced by girls the same age as his daughters who were in a similar situation. In the midst of his existential angst, he finds little solace in the no-nonsense pragmatism of his wife who reminds him “there are things you have to ignore” to get on in life. He is taken aside by his local publican, a woman who has similarly scrabbled up from humble origins to establish a thriving business and cautioned to not make trouble for the nuns since “their fingers are in every pie in the town”.

I will refrain from fully revealing every detail of the film’s plot. But this element of the screenplay – where Claire Keegan along with Enda Walsh – draw out the sense in which the oppressive ecclesial institutions were enabled and even sanctioned by the wider population is exceptionally well done. The film does not pull any punches on the evils that were committed in the name of churches in Ireland. Indeed, if anything, the presentation of the nuns veers too far towards caricatures of pure malevolence. But with surgical precision, it evokes the ways in which all such systems of oppression are socially constructed and maintained. Otherwise, good people learn to look the other way.

And that is the lasting significance of this film. Toni Morrison has spoken about how it can seem harder to write about goodness than evil. “Evil has a blockbuster audience; goodness lurks backstage.” In Small Things Like This, Claire Keegan introduces us to a hardworking small business owner who treats his staff well, a loving father who seeks to care for his wife, a man who lives down a back street of a provincial town in an overlooked part of a small island on the periphery of Europe. And in this very definitively backstage context, he is presented as heroic in his pursuit of the Good.

We all fancy ourselves to be the one person who would stand up and oppose systems of oppression if we ever found ourselves enmeshed in them. Cillian Murphy’s depiction of Bill Furlong whispers to us that we likely are enmeshed in just that way and are choosing not to notice. Small Things Like These is a heavy film that somehow liberates. It reminds us that there is, within each of us, this appetite for seeing the Good and bring brave enough to do it. It is worth your time far more than any competing blockbuster.