popular culture

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After 70 years, It's (still) a Wonderful (Catholic) Life in Frank Capra's epic

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After receiving 30 pieces of silver for betraying Jesus, Judas Iscariot repented, threw the money away and hanged himself.

Religious authorities used the money, according to St. Matthew's Gospel, to buy the "potter's field, to bury strangers in," which became known as the "field of blood."

Anyone who thinks it was a coincidence that the slums owned by bitter banker Henry F. Potter in "It's a Wonderful Life" were called "Potter's Field" isn't paying attention to the gospel according to Frank Capra.

"There's no question that Capra's great enough" to be listed among Hollywood's greatest Catholic filmmakers, said critic Steven D. Greydanus of DecentFilms.com and The National Catholic Register. He also serves as a permanent deacon in the Catholic Archdiocese of Newark.

"It's a Wonderful Life," he stressed, is also Capra's greatest film and the one that best captures his Catholic view of life. Capra directed, co-wrote and produced the film, which was released on Christmas Day in 1946. The movie's 70th anniversary will be celebrated Dec. 9-11 in Seneca Falls, N.Y., the model for the fictional Bedford Falls.

"Capra worked harder on this film than any other," said Greydanus. "He was passionate about it and the themes in it. …  I think his worldview was shaped by his Catholic upbringing and, whatever idiosyncrasies he added as an adult, that faith shaped this movie."

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Let's face it: 2016 felt like the start of a cultural civil war, right?

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Let's face it: 2016 felt like the start of a cultural civil war, right?

It's been nearly a quarter of a century since foreign correspondent David Aikman wrote a novel about a second American Civil War, with a government led by urban socialists going to war with heartland conservatives.

Alas, the more things change, the more they remain the same.

About a year ago, the bitter events unfolding on cable-TV political news made it rather clear that it was time for a new edition of that post-Cold War thriller, "When the Almond Tree Blossoms."

"No matter who wins … there are people out there who think we are headed toward some kind of civil war," said Aikman, in an interview just before Election Day.

"It's disappointing that our nation really hasn't come to terms with all of its internal problems. Right now, it feels like it would take a miracle -- some kind of divine intervention -- to heal the divisions we see in American life today."

Aikman was born in Surrey, England, and came to America in the 1960s to do a doctorate in Russian and Chinese history, after his studies at Oxford's Worcester College. After contemplating a career in diplomacy -- he speaks German, French, Chinese and Russian -- he moved into journalism and became senior foreign correspondent at Time magazine. Among his many adventures, Aikman witnessed the 1989 massacre in China's Tiananmen Square and introduced readers to a Russian politico named Boris Yeltsin.

Ironically, Aikman wrote "When the Almond Tree Blossoms" -- the title is rebel code drawn from Ecclesiastes -- while preparing to become a naturalized United States citizen in 1993. In the novel, the liberal "People's Movement" -- backed by Russia -- rules the East and West coast power centers, as well as the industrial Midwest. The "Constitutionalists" control most of the Bible Belt and have dug into the Rocky Mountain West. But who will the pragmatic Chinese support?

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The gentle, evangelical insider religious satire of The Babylon Bee

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The gentle, evangelical insider religious satire of The Babylon Bee

Anyone who visits a typical American megachurch worship service will get a quick education on the mechanics of contemporary praise music.

First, the band rocks into action, while swaying worshipers raise their hands high, singing lyrics displayed on giant screens. There may be lasers and smoke. A guitarist or keyboard player guides everyone through worship songs -- loud then soft, softer then louder -- linked by dramatic key changes and musical "bridges." Eventually, there's a sermon or worship video.

What if something goes wrong? This Babylon Bee headline was an online classic: "Worship Leader Caught In Infinite Loop Between Bridge And Chorus."

In this fake "news report," a weeping member of the worship band adds: "It's scary, honestly. … This is our third worship leader who's been sucked into a PCBV (Perpetual Chorus-Bridge Vortex) in the past year."

After the 14th chorus-to-bridge transition, deacons called 911 and the victim was rushed to an emergency room. "Physicians are subjecting him," readers learn, "to a barrage of classic hymns in hopes that he will recover."

This is an inside-baseball brand of satire that allows Babylon Bee creator Adam Ford to gently explore the yins and yangs of evangelical Christianity.

"While we satirize our own camp quite a bit, we don't limit ourselves to evangelicalism. We write about culture, politics, other religions, current events, etc., regularly," said Ford, who does email interviews since he struggles with anxiety attacks. He shares more of his personal story in his own Adam4d.com web-comics site.

Most Babylon Bee newcomers, however, are almost certainly be drawn there by social-media references to the site's popular items dissecting modern evangelical life.

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'The Young Messiah' -- A new/old Bible movie that tries to stay orthodox

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Ages ago, there was nothing unusual about Hollywood producing epics based on Bible stories.

In the so-called Golden Age, these movies had titles like "King of Kings," "The Ten Commandments," "The Robe," "The Greatest Story Ever Told" and "Barabbas." At least one -- "Ben-Hur" -- was a character-driven classic that helped shape blockbusters for decades to come.

"I have watched them all. … No one called them 'Bible movies' back then or considered them strange. They were big movies about big stories and the big studios knew that lots of people wanted to see them," said Cyrus Nowrasteh. He is the director and co-writer, with his wife, Betsy, of "The Young Messiah" from Focus Features, which hits theaters this weekend.

"These movies went away for a long time … Then there was 'The Passion.' "

Nowrasteh was, of course, talking about "The Passion of the Christ" -- Mel Gibson's 2004 blockbuster that rang up $611,899,420 at the global box office. Hollywood's principalities and powers have been trying, ever since, to find the magic formula that will reach that same audience.

That's a challenge. Just ask the creators of "Noah" and "Exodus: Gods and Men."

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Facing the Sexual Revolution, even among 'active' believers in conservative pews

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When pastors gaze out from their pulpits, they may want to imagine what would happen if they asked their flocks to respond to this statement: "As long as it's between consenting adults, any kind of sex is fine."

If this were a conservative or nondenominational Protestant church, the active, "practicing" members would be sharply divided, according to a new Barna Group survey. Nearly half -- 46 percent -- would affirm this live-and-let-live approach to sex outside of marriage, while 40 percent would disagree "strongly" and 12 percent "somewhat."

There are the active members, not the people who occasionally visit the pews.

"What is surprising is the way that even practicing Christians are beginning to conform to the beliefs and behaviors that are now considered normal in our culture," said Roxanne Stone, editor-in-chief at Barna. "The big story here is that people no longer agree when it comes to the purpose and meaning of sex -- including in our churches. Many no longer connect sex and marriage the way they used to."

When looking at broader trends, this study found the usual evidence that older Americans -- the "Elders" and "Boomers" -- have much more traditional views of sex and marriage than members of the younger "Gen-X" and "Millennial" generations. Rising numbers of young Americans view sex through the lens of self-expression and personal growth, with few ties that bind them to institutions and traditions.

"What people are saying is that sex is about two people loving each other and experiencing intimacy, but you don't really need to have the word 'marriage' involved in this discussion," said Stone, in a telephone interview.

"It's surprising how quickly some of these changes have become part of what is now considered normal. … Normally, these kinds of radical changes in a culture evolve over time. But, sociologically speaking, Woodstock wasn't that long ago."

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Pope Francis seeking a Year of Mercy, even in the online land of the trolls

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Pope Francis has promoted the Extraordinary Jubilee Year of Mercy in many symbolic ways, from spectacular liturgical rites to quiet gestures of forgiveness to sinners who have sought his help.

Now, the social-media star @Pontifex is saying that acts of grace, kindness and mercy should even be attempted by believers whose work and private affairs take them into one of modern life's harshest environments -- cyberspace.

"Emails, text messages, social networks and chats can also be fully human forms of communication. It is not technology which determines whether or not communication is authentic, but rather the human heart," argued Francis, in a statement marking the 50th World Communications Day. It was released at the same time as a private meeting between the pope and Apple CEO Tim Cook.

"Social networks," wrote Francis, "can facilitate relationships and promote the good of society, but they can also lead to further polarization and division. … The digital world is a public square, a meeting-place where we can either encourage or demean one another, engage in a meaningful discussion or unfair attacks. … Access to digital networks entails a responsibility for our neighbor whom we do not see but who is nonetheless real and has a dignity which must be respected."

Believers can stand firm in defending the faith, he said, but "even in those cases where they must firmly condemn evil" it's essential that they not resort to using words and arguments that "try to rupture relationships."

Alas, there's the rub, especially when "trolls" wreck havoc in online communities.

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Concerning those British battles about 'Star Wars' and the Lord's Prayer

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Imagine this scene in a London movie theater, moments before the archetypal fanfare signaling the Dec. 18 arrival of the new "Star Wars" epic.

Imagine a beautiful, dignified advertisement appearing onscreen in which Muslims -- workers, refugees, artists and imams -- each recite one of the opening phrases of the Quran.

"In the name of Allah, Most Gracious, Most Merciful. Praise be to Allah, the Cherisher and Sustainer of the worlds. Most Gracious, Most Merciful; Master of the Day of Judgment. Thee do we worship, and Thine aid we seek."

How would this be received in modern England, a tense land rocked by decades of debate about multiculturalism and whether it remains "Christian," in any meaningful sense of the word?

That's an intriguing question, after the decision by the dominant managers of British theaters to reject a Church of England advertisement -- targeting throngs at "Star Wars" rites -- in which Archbishop of Canterbury Justin Welby and others recite phrases from The Lord's Prayer. It's important to ponder this comparison, argued theologian Andrew Perriman of London, at a website called "An Evangelical Theology for the Post-Christendom Age."

"Context is everything. It seems to me that the assumption that the Lord's Prayer is culturally and religiously innocuous points to some complacency on the part of the church," wrote Perriman, author of "The Coming of the Son of Man: New Testament Eschatology for an Emerging Church."

The decision to use this symbolic New Testament prayer in this public-square context, he argued, suggests that, "we have not let go of the Christendom mentality that expects everyone in this country to be, deep-down, innately, whether-they-like-it-or-not Christian."

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'Amazing Grace' tests faith in the modern Broadway marketplace

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NEW YORK -- During his eulogy for the Rev. Clementa Pickney, one of nine worshipers killed at Emanuel AME Church in Charleston, S.C., a visibly moved President Barack Obama paused as he pondered mysteries of grief and forgiveness.

"Blinded by hatred," he said, the gunman could not comprehend the "power of God's grace. … Amazing grace. Amazing grace." The president then began singing: "Amazing grace! How sweet the sound, that saved a wretch like me! I once was lost, but now am found, was blind, but now I see."

The congregation joined in during that June 26 service, which was not a surprise since researchers say believers worldwide sing the Rev. John Newton's classic at least 10 million times a year.

But the president's solo had an unexpected impact in New York, where the cast of the Broadway musical "Amazing Grace" was doing preview performances before its July 16 opening in a tough town for a show about sin, repentance and salvation.

Some theater insiders, for example, had suggested changing the show's name.

"When Obama sang the song it was like heaven for us. If the president knew this song, that meant it was acceptable, that it wasn't just something for church people," said veteran playwright Arthur Giron, who wrote the musical's book -- dialogue and many lyrics -- along with self-taught composer Christopher Smith.

"You see, many Broadway people didn't know 'Amazing Grace,' let alone what the song was about. They obviously didn't know the story of the song and that was the whole point of our show."

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C.S. Lewis on stage: Working to bring the DNA of life and faith to off-Broadway

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NEW YORK -- To get to The Pearl Theatre, drama lovers visit the bright lights of Broadway and then turn West and head deep into Hell's Kitchen, where the off-Broadway marquees are smaller and the offerings more daring.

For the team behind "C.S. Lewis' The Great Divorce," the road to The Pearl ran through halls in Chattanooga, Tenn., Tampa, Fla., San Diego, Indianapolis, Atlanta, Houston, Los Angeles, Washington, D.C., and elsewhere before reaching New York for a Dec. 3 opening night in the intimate 162-seat venue.

Theater's highest hurdle is still New York City, explained Max McLean, founder and director of the Fellowship for Performing Arts team and co-writer of this version of "The Great Divorce."

Living and working in the neighborhood defined by Broadway and off-Broadway, he said, means "being surrounded by hundreds of artists of every kind. They may not be as well known as people in Hollywood, but they are producing art that's exported to the whole world. This community in New York City still has tremendous influence. …

"The goal is for our work to be taken seriously. We want to tell stories that engage the moral imagination and push people to take faith seriously -- right here."

Ironically, one way for a modern company dedicated to faith and the arts to find cultural credibility is to look to the past, focusing on the work of legendary writers who are not part of the modern evangelical subculture.

Lewis remains one of the world's most popular writers and the Oxford University don was an articulate atheist before his turn to Christianity, a conversion that took place with the help of his friend J.R.R. Tolkien. In addition to "The Great Divorce," McLean has produced, directed and starred in the four-year national, and off-Broadway, run of another Lewis classic, "The Screwtape Letters."

"Lewis called himself a dinosaur" in the 1950s, said McLean. "But for me, he remains the model for how to bring the Christian imagination into the mainstream. He remains a relevant dinosaur -- along with Tolkien -- and he points us to the work of G.K. Chesterton, Dorothy Sayers and others."