Review
Ambition
Culture
Film & TV
Politics
6 min read

Why we’re fascinated with power behind closed doors

Conclave captures the powerful chemistry between heaven and earth.

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London. 

A cardinal glances to the side as he stands amid a gather of clergy,
Cardinal Thomas Lawrence played by Ralph Fiennes.
Film Nation.

An ecclesiastical election, conducted behind closed doors, by a group of old men hardly seems a subject for a riveting thriller. Yet, back in 2016, Berkshire-based novelist Robert Harris thought otherwise. Conclave became an international best-seller. 

Now it’s been turned into a movie. And, according to the cognoscenti, a rather good one at that. British Vogue lauded it with great enthusiasm: 

“It’s a treat in every sense – visually, sonically, dramaturgically – and, as we hurtle into this bleakest of winters, exactly the kind of galvanising, pulse-racing shot in the arm we all need.” 

Really? 

Well, following its UK premiere at the London Film Festival in October, the BBC were quick to report a potential flurry of Oscar nominations and even that it was ‘thought to be a strong contender for the best picture award’. 

So, what’s going on? How has this dangerously dull and turgid subject turned into a narrative that tames the critics and converts the sceptics?  

A late night showing on the day of its release at the end of November beckoned me to find out. So off I went with my wife, after she had finished Gospel Choir practice. 

Directed by award winning film-maker Edward Berger (All Quiet on the Western Front), it stars Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini.  

The premise is simple. The Pope is dead, and the Cardinals of the Catholic Church convene from around the world to choose his successor. But this, of course, is only the beginning. 

Sequestered in the Vatican the prelates are cut off from outside influence as the secret process of electing a new pontiff is enacted. But this does not stop events, past and present, from impacting and shaping their deliberations.  

Overseen by Cardinal Thomas Lawrence (Fiennes), the British Dean of the College of Cardinals, the story unfolds as he negotiates these successive revelations and happenings. Along the way he is also wrestling in his own faith for spiritual reality and personal integrity. 

As they gather, the not-so-friendly fraternal rivalry of the cardinals and the manoeuvring of the leading contenders sets up a presenting series of tensions for the Conclave: 

  • Cardinal Bellini (Tucci) is the Vatican’s theologically progressive, yet diffident, Secretary of State 
  • Cardinal Tremblay (Lithgow) is a slippery and ambitious, self-promoting Canadian conservative 
  • Cardinal Tedesco (Sergio Castellitto) is the forthright and reactionary traditionalist Patriarch of Venice  
  • Cardinal Adeyemi (Lucian Msamati) is a theologically conservative and populist Nigerian who offers the possibility of making history as the first Black pope.  

Then, at the last minute, into the mix enters a cardinal that no one knew of. Cardinal Benitez (Carlos Diehz) is a Mexican who arrives claiming the late pope appointed him Archbishop of Kabul in pectore (in secret) prior to his death.  

Shuttling between their living quarters in the Domus Sanctae Marthae and the Sistine Chapel, the venue for their voting process, the story unfolds. A complex interplay of ecclesiastical politics, theology and spirituality intermingle with issues of identity, character and choice to make for a heady mix. At stake, or is that on offer, is the power of the Papacy. 

Reflecting the church at large the Conclave is a community of conservatives and liberals, traditionalists and progressives, populists and academics, activists and administrators.  

Like the world at large, all human life is here. Men with hidden secrets, driven by ignoble motives that often dress themselves in more noble apparel. Ambition, greed, ego and privilege rub shoulders with graciousness, sincerity and self-sacrificial service. Sometimes even in the same person. The human condition is a complicated one. It seems that power retains its age-old allure and ability to corrupt. 

And maybe that’s it. For all the secrecy and mystery that surrounds a papal election, right down to the colour of the smoke, it is a human concoction. Human fingerprints are all over it, just like they are all over the church.  

The church aspires to be better. To be shaped by a higher ideal. To properly be ‘the body of Christ’ and represent the imago dei in the world. To so inhabit the love and grace of God that through its life and witness God might touch and transform the world for the better. Yet, as one of the Italian cardinals correctly, if too easily, argues, “We are mortal men; we serve an ideal. We cannot always be ideal.” 

Indeed, the great apostle St. Paul had to confess, “Not that I have already obtained all this, or have already been made perfect …”, but he is committed to go further, “… [yet] I press on to take hold of that for which Christ Jesus took hold of me.” There is an ideal to pursue. 

As the cardinals progress through successive rounds of voting the field of candidates narrows and the required two-thirds majority comes within reach. Yet the prospects of the main characters rise and fall through the twists and turns of the plot as it heads to its inevitable climax.  

Then one final, unexpected and flabbergasting reveal hits the audience from out of left field. It is a masterful denouement to the tale. 

Speaking about how it all came together Harris revealed: 

“I approached this not as a Catholic and not as an expert in the Church. So my preparation began by reading the gospels, which are revolutionary. And the contrast between that and this great edifice of ritual and pomp and power and wealth of the Church is striking … There's also this question of can you freeze anything at a point nearly 2000 years ago? Haven't the world and humanity evolved?” 

As we drove home at gone midnight I found it hard to disagree with Vogue.  

The visual spectacle created by cinematographer Stéphane Fontaine plays wonderfully with the renaissance setting of the Vatican. It is a beautiful and luscious feast for the eyes.  

Volker Bertelmann’s teasing creativity with the score made the drama come alive and heightened what has been an unforgettable experience. 

But for me, most of all, it was the drama. The story that was told. The unfolding of events and the interplay with people and their motives, their relationships and their vested interests. It is layered and nuanced and complex, just like real life.  

It has left me pondering once again the chemistry between heaven and earth. Between our freewill and agency as individuals and the mystery of the divine presence and the fruit of prayer.  

As the cardinals prepare for the final vote a waft of air blows gently through a broken window in the Sistine Chapel and rustles their voting papers. Is Berger tipping his hat to the presence of the Spirit of God, present and active in human affairs? 

Perhaps the last word should go to Robert Harris. 

“With temporal power, or indeed spiritual power, it is very difficult to avoid factions, scheming, the lesser of two evils—all the compromises that go into running any huge organization and trying to keep, not just hundreds, but thousands of people onside … I have a lot of time for politicians, just as I have a lot of time for these cardinals, because they are grappling with almost insoluble problems. But someone has to do it. Someone has to run a society. And I've tried to write about them with a degree of sympathy.” 

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Snippet
AI
Culture
Digital
Sustainability
3 min read

AI Barbie: does anyone think about destruction?

We choose waste and consumption over stewardship.

Jean is a consultant working with financial services and Christian organisations. She also writes and broadcasts.

An AI generated image of a Barbie-like Toy
AIn a Barbie world.

If you spend any time on any social media platform you would have probably seen the ChatGPT Barbie trend. Resembling packaged toys, the AI depicts you like a doll or action figure. At first, I thought I was only seeing it because of the LinkedIn algorithm. But then I started to see articles in my feed from mainstream media outlets teaching people how to do it.  

Generally, speaking, I am not a trend follower. I am one of those annoying people who doesn’t get involved with what everyone is doing just because everyone is doing it. Thankfully, I don’t suffer from FOMO (the Fear Of Missing Out) and I don’t think I am swayed much by peer pressure. But I like to stay informed about what is going on. So I can have something to talk about when I meet people in new settings and to remain relevant. So, when this started popping up in my feeds, I investigated it, and I was pleasantly surprised. 

I am not anti-AI. I have embraced and seen the benefits of AI in my own life (this sounds a bit weird, but I think you get my point). I understand and accept that it will, can and has improved productivity and creativity. I use ChatGPT all the time for social media content and captions, brainstorming, titles for articles, coding problems, research and language translations.  

But like many, I have long been sceptical about the growth of AI use and the viability of its long-term sustainability. I wouldn’t describe myself as a climate warrior, but I do believe that we have a responsibility to ourselves and the generations after us to use the finite resources of the planet frugally. The AI-powered Barbie trend throws that out of the window.  

The current Trump administration has facilitated a shift away from ESG (environmental, social and governance) targets in the world of business. For the most part, the criticism of this in the media (social and mainstream) has been focused on DEI targets. But perhaps, in the face of slow economic growth and because this began before the Trump administration took office, the move away from environmental targets or what I would call environmental stewardship, or frugality has received limited coverage.   

I have never understood why proponents of the climate emergency, have made themselves bedfellows and in some cases, wholehearted supporters of the AI revolution. A typical data centre uses between 11-19 million litres per day water just to cool its servers, that’s the equivalent of a small town of 30,000-50,000 people. The International Energy Agency (IEA) predicts by 2030 that there will be a doubling of electricity demand from data centres globally equating to slightly more than the entire electricity consumption of Japan. This growth will be driven by the use of AI in the US, China, and Europe. That’s why vocal support of the climate emergency and advocating escalated transition to AI, as is the position of the UK government, currently seems paradoxical to me.  

This isn’t hyperbole, Sam Altman, CEO of Open AI recently tweeted asking folks to reduce their use of the ChatGPT’s image generator because Open AI’s servers were overheating.  

That is why I have been pleasantly surprised, by some of coverage on the Barbie trend. Arguments are now being made more loudly about the true cost of unlimited AI expansion.  

I am not against progress or AI expansion entirely, and I have some support for the argument that governments have pursued net zero policies at a rate that is impractical, expensive and unviable for the average consumer in Western democracies. However, the Barbie trend reveals our tendency to choose waste and consumption for fleeting pleasure. For many of us, we have probably just thought, ‘It’s just a bit of harmless fun’. But the truth is it isn’t, it’s just that we can’t see the damage we are doing to the environment. That’s without going into the financial and privacy costs associated with the AI revolution. It really is a case of that age old adage, ‘Out of sight, out of mind’.  

The challenge is now that we know, what do we do? Do we continue to be part of wasteful AI trends? Or do we use AI to add value, increase productivity and solve problems?  

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