This blog defines itself as “On the Definition of Morality.”I hope to expand on this description over time. To do so, I must observe and sample various expressions of morality as presented by modern society. These samples often appear in contemporary media—through writing and performing arts. As the saying goes, I enjoy uncovering the structure behind these expressions: the framework that supports these moral narratives. I’m curious to analyse whether these structures aim to improve humanity or lead it astray.
I reserve the right to edit this article to improve its semantics and grammar, though the core idea will remain unchanged.
The example I discuss here drew my attention for reasons I’ll explain shortly. It comes from the BBC soap opera EastEnders, specifically an episode aired in December 2015.
Storyline Overview:
Stacey (rather conveniently) becomes pregnant after a one-night stand with Kush.
The complication arises from the fact that Stacey is in a committed relationship—living under the same roof and deeply in love with Martin. Meanwhile, Kush is either married or close to marrying Shabnam, with whom he also shares a deep emotional bond. If memory serves, Shabnam is also pregnant by Kush.
Stacey and Martin are loosely portrayed as Christians, while Kush and Shabnam are presumably Muslim.
As is typical in soap operas, the story involves concealment, dishonesty, and the eventual revelation of secrets—often through accidental overhearing or dramatic confessions.
Months pass, and the story approaches Christmas. The community begins planning a Nativity play featuring the children of Walford, to be performed at the local community centre.
However, Linda’s mother (wife of the pub owner) proposes a more modern alternative. She finds the Nativity outdated and boring, suggesting instead a musical performance at the Queen Vic pub.
Several voices oppose her idea, advocating for the traditional Nativity. The most vocal is Dot Cotton, a devout churchgoer who can recite Bible verses at just the right moment.
To resolve the disagreement, a vote is held in the pub (presumably not considered a decision “under the influence”). Dot Cotton wins the poll, and the community agrees to support a proper Nativity play performed by the children. Linda’s mother, accepting the result graciously, volunteers to direct the auditions, coaching, and final performance.
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| Modern version of Madonna and Child |
As time passes, Stacey’s secret—her entanglement in a love triangle with Martin and Kush, and her connection to Shabnam (not Elizabeth, as I jumped ahead)—becomes the central focus of the BBC’s popular soap opera just before Christmas.
Meanwhile, Stacey’s mental health deteriorates. She has a history of bipolar disorder and is not consistently taking her medication. In one scene, when asked who the father of her unborn child is, she replies, “God is the Father of the child.” The camera dissolves to Kush’s face, filled with regret and sorrow, knowing the child is actually his. Stacey continues to draw attention from her community and the show’s fans with her long, erratic speeches and emotional outbursts.
Where does Stacey deliver her child? You guessed it.
Everyone—including Stacey and Martin—attends the children’s Nativity play. In the middle of the performance, Stacey goes into labour. Crucially, she is moved to the stage, decorated to resemble a stable. There, she gives birth. The audience clears the stage, leaving Stacey resting in the arms of “Joseph the carpenter” (that is, Martin), her head on his shoulder, both gazing down at the newborn boy in her arms.
The symbolism is unmistakable. The Child—with a capital C—is the product of a one-night stand, born of betrayal and deception. Yet Martin, unaware of the truth, is euphoric, believing he’s become a father earlier than expected and preparing to marry Stacey.
But the show doesn’t stop there. It presses on until even the least attentive viewer begins to subconsciously swap the “truth” of this soap opera with the story of Jesus Christ. How?
Stacey returns home with her newborn son and Martin. But her bipolar disorder flares, and she relapses. She begins to believe her child has enemies and suffers from postnatal depression. Nurses, doctors, neighbours, and Martin all agree she needs treatment.
Her delusions deepen. She believes her sibling is Satan and tries to protect her son from imagined threats. No one can convince her that Arthur—the name she gives her son—is safe.
In a dramatic climax, Stacey takes Arthur to the roof of the Queen Vic pub. Thunder roars, lightning flashes, rain lashes down, and wind howls. She climbs aloft, seeking closeness to God, offering Arthur in prayer, hoping he remains pure despite her sins. She crosses her heart and declares Arthur is the Son of God.
Mental health professionals arrive and promise her that if she accepts treatment, she and her son will remain “clean.”
And if you still haven’t grasped the message, Shabnam arrives to spell it out. She tells Stacey she knows about the affair with Kush. She explains that Stacey’s guilt—betraying Martin, deceiving her best friend Shabnam—has led her to deny reality and become delusional, believing her child is divine.
The message is clear: only a mentally ill woman, driven by impulsive desire and guilt, would claim her child is the Son of God. The show implies that the “real truth” behind the Nativity is this.
But there’s a deeper puzzle—one for the inquisitive mind. What is Shabnam’s role in helping deliver the child and, more subtly, delivering the producers’ message in this Christmas sequence?
I’ll explore that in the next article. This storyline continues, echoing through future episodes, even into the denial of Easter, repeating in new forms year after year.
Date: March 29, 2018
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