“Jesus was led by the Spirit into the wilderness to be tempted by the devil.”
Thus begins the spiritual drama of Lent, the forty days before Easter that commemorates Jesus’ wilderness experience. No human, not even Jesus, can escape the temptation of the devil.
Just before Jesus was led into the wilderness, he was baptized in the Jordan River by John. As the Gospel of Matthew reports, when Jesus emerged from the water “a voice from heaven said, ‘This is my Son, my Beloved, with whom I am well pleased.’”
Jesus’ identity as God’s Son had always been true, but he received confirmation of his relationship with God at his baptism.
Son of God is Hollywood’s take on the life and teachings of Jesus of Nazareth. While the producers clearly tried hard to use modern filmmaking techniques to bring scripture to the big screen, the attempt fell flat somewhere between the use of action-sequences, swelling music reminiscent of old Westerns, and unconvincing acting — Jesus is played by Portuguese actor Diogo Morgado, who managed to look irritatingly self-satisfied for most of the movie.
Since faith is such a personal, spiritual experience, it begs the question: Is it possible to make the life and ministry of Jesus into a film that accurately reflects Christianity, or does such an effort cheapen beliefs?
By turning water into wine, Jesus used his first miracle to keep the wedding feast going.
Jesus said to them, "Fill the jars with water." And they filled them up to the brim. He said to them, “Now draw some out, and take it to the chief steward.” So they took it. When the steward tasted the water that had become wine and did not know where it came from (though the servants who had drawn the water knew), the steward called the bridegroom and said to him, “Everyone serves the good wine first, and then the inferior wine after the guests have become drunk. But you have kept the good wine until now.” (John 2:7-10)
But maybe Jesus won't be the only one reigniting the party with homemade wine. A new device called The Miracle Machine promises to make pre-aged wine in about three days.
It’s called The Miracle Machine (of course) and it’s basically a Sodastream for wine. Like its under-21 counterpart, the Miracle Machine uses water, yeast, grape concentrate, and finishing powder packets to create decent DIY-quality vino, virtually out of thin air. Just connect the machine to its corresponding iOS or Android app, input all the ingredients, and, in true miracle fashion, wait three days for your wine to rise triumphantly from the ashes of discarded flavor packets and tap water.
Just to be clear, Jesus didn't have to wait three days for his wine.
There are tour guides who speak / all the human tongues, and we are trampled / for being famous blades / but then are resurrected.
Tony Kriz is, in many ways, the definitive postmodern Christian. He’s a Christian writer, teacher, and he even lives in intentional community with fellow Christ-seekers. He comes from an evangelical background, and, though he claims portions of the theology of his youth, he also continues to reinvent himself as he forges the path of Christ in his cultural context.
Known first in the public eye as “Tony the Beat Poet” from Donald Miller’s bestselling book, Blue Like Jazz, he is a voice and a presence unto himself. He’s more inclined to meet friends over a beer than he is to join a particular congregation in worship every Sunday. He is both deeply embedded in the Christian conversation and cultural identity and, at the same time, a stark contrast to what tradition dictates a “good Christian” should look and act like.
I shot a handful of questions his way after a recent book discussion we conducted at First Christian Church in Portland. Here’s what he had to say.
Novelist Chaim Potok captured the strain of transition from religious traditionalism to artistic expression in the fictional character Asher Lev. Asher, a young painter prodigy and son of a Hasidic luminary, is drawn to a Brooklyn museum where he surreptitiously views crucifixions and nudes. He then goes on to paint such scenes.
Asher’s mother tries to understand her son’s artistic longings, yet says in exasperation, “Your painting. It’s taken us to Jesus. And to the way they paint women. Painting is for goyim, Asher. Jews don’t draw and paint.”
Asher responds, “Chagall is a Jew,” but his mother cuts him off.
“Religious Jews, Asher. Torah Jews. Such Jews don’t draw and paint.”
Returning from a trip to Europe, Asher’s father sees the crucifixion drawings. In a rage, he asks his son if he knows “how much Jewish blood had been spilled because of that man?”
The first half of “Son of God” features an upbeat and kindly Jesus spreading the good word in familiar, if occasionally over-simplified, biblical phraseology.
Then things get bloody — thought not quite as graphic as in 2004′s “The Passion of the Christ” — when Jesus is seized, beaten, and crucified. The production values are modest and the special effects uneven in this PG-13 repurposed and condensed version of the History Channel’s miniseries The Bible. (That series drew flack for casting an actor who resembled President Obama in the role of Satan. The film sidesteps any hint of controversy by keeping the devil out of this story.)
Son of God, which opens Friday, takes no real chances, opting for a moderately involving re-telling of an oft-told story.
Tired of cursing the darkness, my husband Mark and I wanted to shine a light. To do this, we set up a production company called LightWorkers Media. The Bible miniseries, born out of this intention and released last year, grew so popular that we were able to make it into our Jesus film, Son of God.
The Bible series was in its third week when Jesus began to appear on the big screen. There was great excitement that Jesus was coming, with our trailers, various talk shows and even Twitter buzzing with anticipation.
He was beautiful and strong and kind and compassionate. His presence uplifted and encouraged people. It was everything we had hoped for.
Let’s face it: we are an opinionated society.
We have entire television channels and radio stations dedicated to the propagation of one particular way of thinking. Some people like this channel because they are “more liberal” while others like this channel because they are “more conservative” and the rest of the world falls into the trap that we can be objective (read: ‘fair and balanced’).
We seek out opinions from everything from a new toaster to the new medical center in the area. We want to know people’s experiences about something before we waste our time, money and energy on a futile venture. If a product on Amazon has too many “one-star” reviews I am not going to purchase it. If my friends or family members have a bad experience at a restaurant or store then I will think twice about going there myself.
Sharing our opinions or perceptions is never easy. They can be met with great disdain or hostility. ESPN prides itself on these conflicts. Its marketing plan is to put four talking, opinionated heads in a room and ask a question that none of them can agree on like “Who is the greatest basketball player of all time?” or “Is Tom Brady overrated?”
Some of the greatest conflicts in the world’s history have been over difference of opinion. Governments have been shut down over difference of opinion. Trying to “change” someone’s opinion is hard if not impossible; for some people the “damage” is done and there is no turning back.
The church is not immune to this to this.
Christian leaders, including megachurch pastor Rick Warren, plan to rent every screen in numerous multiplex theaters across 10 cities for the premiere of Mark Burnett and Roma Downey’s upcoming Jesus film Son of God, on Feb. 27.
The unusual move reflects the confidence Christian leaders have in Burnett and Downey’s work in the wake of The Bible, a hit miniseries on the History channel.
The Son of God, an adaption from The Bible series, opens in theaters nationwide Feb. 28.
“Be perfect, therefore, as your heavenly Father is perfect” (Matthew 5:48). Seriously, Jesus? Have you even met some of us? Have you seen the depths of our jealousies, the breadth of our greed? Have you noticed how insatiable our egos are? How deeply insecure we all are?
You cannot mean what you seem to mean.
What then do we do with this seemingly impossible call? For many of us, this is one of those passages in the Bible we seek to explain away. Jesus can’t possibly mean what he says here. We reckon that he must be calling us merely to aspire to perfection. Or we conclude that in calling us to perfection, we realize how very far we are from it and thus lean on God’s grace. But certainly, absolutely, without a doubt, Jesus cannot be calling us to be perfect like God is perfect.
As I stated yesterday, I believe that America’s justice system is broken and in need of desperate repair. One of those areas is the practice of putting our citizens to death, something I believe that all Jesus People should resoundingly oppose.
When I was a conservative evangelical, I was a huge supporter of capital punishment for all of the standard reasons. I even had a quick response when folks correctly brought up the hypocrisy of being against abortion while simultaneously being pro-death penalty, a position I previously argued you can’t hold and still call yourself “pro-life.”
However, when I decided to follow Jesus instead of simply being a Christian who paid him hollow worship while conveniently ignoring the red words, I was forced to abandon my support of the death penalty (and abandon my support of violence in general) as part of Following Jesus 101.
While America’s broken justice system is a complex issue, perhaps the first area we can fix is by abolishing the death penalty in all 50 states. Here’s why I think Jesus People should be leading the charge on this issue:
At a moment when the world is flush with new books and ever-evolving interpretations of Jesus, one of the last century’s artistic masters is providing art lovers with a striking take on the first-century religious figure.
The first U.S. exhibition exploring the “darker works” of Marc Chagall (1887-1985) shows a Jewish artist obsessed with Jesus.
“Chagall: Love, War, and Exile,” at The Jewish Museum in New York showcases the work of the Russian-French artist during World War II as he tried to make sense of a world gone mad.
Of particular interest are paintings depicting the crucified Jesus — depictions that are often read as metaphors not only for war but the particular expressions of Jewish suffering and persecution in Europe during the 1930s and 1940s.