Paternal Insights edited by Anderson Campbell / Sing Freedom by Robert F. Darden / In Between by finelinefilms.org / More than Metaphor edited by Shelia E. McGinn, Lai Ling Elizabeth Ngan, and Ahida Calderón Pilarski.
These days, female television characters can almost do it all. But we, the media consumers and producers, are still deciding if we should let them make mistakes, too.
And I don’t mean just the I-dated-the-wrong-handsome-doctor mistakes, or the I’m-an-overprotective-mother mistakes. I mean the type of mistakes that warrant the label of antihero. Merriam-Webster defines an antihero as “a protagonist or notable figure who is conspicuously lacking in heroic qualities.” Over the past several years, TV has become saturated with male antiheroes. Breaking Bad made a meth dealer Emmy gold, and Dexter garnered a cult following behind a sociopathic vigilante. But hey, boys will be boys.
Girls will be girls, too, if we let them. And girls aren’t always perfect. John Landgraf, president of FX, says it’s much harder to find acceptance for the female antihero: “It's fascinating to me that we just have really different, and I think, a more rigorous set of standards for female characters than we do for male characters in this society.”
Editor’s Note: ‘Left Behind’ starring Nicolas Cage hits theaters nationwide on Friday, Oct. 3. The film is based on the wildly popular book series and movies of the same title, in which God raptures believers and leaves unbelievers behind to learn follow Jesus and defeat the Antichrist. So how’s the film reboot?
Sojourners Web editors called up a group of religion writers in D.C. to watch and review the movie together. We left with more questions than answers. Here’s our takeaway on all things ‘Left Behind’ — and a little Nic Cage.
Catherine Woodiwiss, Associate Web Editor, Sojourners: So first things first — why Left Behind again?
When the books were published [starting in 1995], there was a debate happening in Christianity over whether Hell was a real, physical place. And the original movies were produced in the context of 9/11 and the Iraq war. So you can look and say, okay, this was a time of questioning what some saw as fundamental beliefs, of war and terrorism. So the popularity of an end-times series makes some sense.
But why now? Why today?
As the Washington, D.C., premiere of Warner Bros.’ new movie, The Good Lie, came to a close, I could barely see the credits through my tears, but the noise of the crowd around me erupting into cheers and the standing ovation was impossible to miss. This film really touched me. I knew I had to write about it.
The Good Lie is the story of some of the "Lost Boys" of Sudan — orphans of war, who walked hundreds of miles fleeing violence, only to spend a decade in a refugee camp before finally being resettled in America. But the film is much more than that. It is a story about the power of faith and regular people who do incredible things because there is no one else who can. It is the story of immigrants — a funny and heartbreaking insight into what it is like to be a stranger in America. And it's a story and performance made all the more real because the Sudanese characters are played by actors who were child refugees and child soldiers themselves.
It stars Reese Witherspoon, whose character and role encapsulate so much of why this movie works. She's the headline draw for Warner Bros., but the movie is not about her. She helps the Lost Boys, but as is so often the case when we respond to God's call to care for our neighbor, they probably help her more. No one saves the day in this movie, but they all help save each other.
A Hymn for This Sunday
This hymn by Carolyn Winfrey Gillette asks the question what does it mean to be a Christian, a church? Whom do we serve? How shall we respond to those in need? It is based on the lectionary passage Matthew 21:23-32 (September 28, 2014). The United Methodist Worship Office has formatted the hymn with the music as a free download.
Once a Father Told His Children
NETTLETON 126.96.36.199 D (“Come, Thou Fount of Every Blessing”)
Once a father told his children,
“Go and do your daily chores.
Go and work out in my vineyard;
All that’s mine will soon be yours.”
One responded, “I won’t do it!”
Then he changed his mind and went.
One said, “Yes! Just send me to it!”
But he went back home again.
On September 21, Leonard Cohen Turned 80. With or Without a Cigarette, It’s Time to Celebrate.
“I hope I stay on the road a little bit longer - but you may not be so enthusiastic when you hear my reason. You see I want to start smoking next year when I'll be 80. It's been a long barren time. I think it’s the right age to recommence.” —Leonard Cohen
I dreamed you were in Florence, singing on some stage. Your back was to the men, the women by your sides. Your melody was tranquil, just humming do-re-me-fa, la-fa-re-me-do. And when there was commotion, some men quarreling behind the scene, you turned and faced them calmly, beseeching, “Gentlemen, let’s sing.”
You have left us these past months, ceased your universal tour. It gives us time to miss you, and wonder what you mean. This week you will be eighty, there’s no question, you are old. Your bones may creak or ache and I’ll guess your heart’s a little tired, but from outside looking in you seem settled in a pretty gentle space.
So in the dream your melodies kept coming, like a river from its source. “You’re doing it,” someone shouted. “It’s exactly what we want!” People were casually swaying until your voice started to get hoarse. “Well, I’m glad you like it,” you croaked joyfully, “I call this solemn mingling my little Florentine Prayer.”
Editor's Note: Spoilers ahead! You've been warned.
Over the past eight episodes of The Leftovers, HBO’s latest drama based on Tom Perrotta’s play of the same name, viewers have been treated to a case study in grief and faith in the midst of a life-changing event. Unlike the Left Behind series, which incorporated Christian triumphalism with terrible theology, The Leftovers examines the deeper human and spiritual issues of what would happen were two percent of the population to suddenly disappear. It is powerful and beautiful and really hard to watch (especially Episode Five). It asks the question: does life go on when your world is changed forever?
The show offers a variety of responses to the Sudden Departure of October 14: Kevin Garvey, the police chief who seems to be losing his mind after his wife leaves him for a cult and after his father needs to be committed; Nora Durst, who’s lost her entire family, so she keeps everything exactly as it was when the Sudden Departure occurred; Rev. Matt Jamison, Nora’s brother whose faith has been shaken because he was not taken; the town dogs who have become feral; and finally, the creepiest citizens of Mapleton, the Guilty Remnant, or the GR as they’re “affectionately” known.
This past week’s episode gave us a greater understanding of the GR. Although the nihilistic views of the Guilty Remnant are quite different from those of Christianity, I was struck by their powerful and strategic mission of witness. The cult was formed out of the recognition that everything changed on October 14 and that to pretend otherwise was foolish. The group, in their white clothes, their silence, their stripped-down existence, bears witness to the fact that they are living reminders of what happened. They are fundamentalists about their cause and willing to die for it — even if that death comes from their own hands.
We lost a funny man on Monday to a sad and persistent disease. Robin Williams passed away last night of an apparent suicide.
In memory of Williams, we've compiled a few of our favorite scenes.
Williams' performance as the lovable Genie: "Ten thousand years will give you such a crick in the neck!"
This Friday, a movie version of the classic novel “The Giver” opens in theaters with an impressive cast, including Oscar winners Meryl Streep and Jeff Bridges. “The Giver,” originally written by Lois Lowry, explores a seemingly perfect world where all conflicts have been resolved and annoyances — such as bad weather and adolescent “stirrings” — have been eradicated, allowing this culture to achieve a beautiful state of “sameness.”
As you can imagine, this utopian society is not so utopian. “The Giver” focuses on young Jonas, who has been selected for a daunting task: to serve as society’s sole proprietor of memory and emotion. Jonas learns about pain and sadness, but also experiences beautiful colors, a thrilling sleigh ride and ultimately learns to feel love. In other words, Jonas learns what it means to be human — and that his world may not be so perfect after all.
“The Giver” is the latest in a wave of dystopian stories that have washed over America in recent years. From this summer’s “Purge” sequel and “Under the Dome” to the latest “Hunger Games” movie (due out in November), people can’t get enough of these apocalyptic fantasies, in which seemingly perfect worlds turn horrific.
Why such an appetite for dystopian stories now?