popular culture

, , , , ,

Putting the brilliant, tormented, flawed Martin Luther on trial -- one more time

, , , , ,
Putting the brilliant, tormented, flawed Martin Luther on trial -- one more time

NEW YORK -- The drama unfolds in a Gothic sanctuary in a limbo zone between heaven and hell.

In this new Off-Broadway play -- "Martin Luther On Trial" -- Lucifer requests new proceedings against the Catholic monk turned Protestant reformer, with St. Peter acting as judge and Luther's wife, former nun Katharina von Bora, as defense counsel.

The first witness is Adolf Hitler, who hails Luther as a "great German patriot" who saved Germany "by uniting all Germans against a common enemy -- the pope. … Luther's 95 Theses freed the German conscience from the clutches of Rome, creating space for a new moral system, one that would be distinctly German."

Luther's wife shouts: "Objection. Luther wasn't a nationalist. He wanted people to follow Christ first, nation second."

St. Peter sadly replies: "Overruled."

So the debate begins. Luther's defenders stress his struggles against worldly Medieval church structures, his work translating the Bible into German and his messages stressing that salvation was found through repentance and faith. It was a world-changing event when, on Oct. 31, 1517, the theology professor posted his 95 theses in Wittenberg, Germany.

The Devil says Luther's goal was to "Reform the Christian church. His result: fracturing it into a thousand pieces." Luther's work also unleashed a violent storm of change in Europe. Facing public failure, as well as success, the aging Luther lashed out at Rome and the Jews in language and logic later recycled by Nazi leaders.

"There is the mad genius thing here. Not in the sense that Luther ever went mad, but there were times when he gave into his anger," said Chris Cragin-Day, who co-wrote the play with Max McLean, founder of the Fellowship for Performing Arts, which is producing "Martin Luther On Trial."

, , , ,

The real man behind that sympathetic priest on M*A*S*H

, , , ,
The real man behind that sympathetic priest on M*A*S*H

In the "Dear sis" episode of M*A*S*H, the frustrated Catholic chaplain at the military hospital camp near the Korean front lines writes a candid letter to his sister, a nun.

"I'm almost desperate to be useful, sis," writes Father Francis John Patrick Mulcahy. "No one comes to confession. I have no one to grant absolution to, no one to give comfort to, no one who even wants to bend my ear for 10 minutes."

Later, a patient attacks a nurse and slugs the priest. By reflex, Mulcahy -- a former Catholic-school boxing coach -- punches back. The gentle chaplain is despondent afterwards and doubts that he is making a difference.

"I'm Christ's representative," he tells a surgeon. "Suffer the little children to come unto me. Do unto others. ... I'm not supposed to just say that stuff, I'm supposed to do it."

The actor behind this unique character was William Christopher, who from 1972-83 portrayed one of the most sympathetic priests in pop-culture history.

Here's the bottom line, according to Greg Kandra, a 26-year CBS News veteran who now serves as a permanent Catholic deacon in Brooklyn: "For a time, he played the most visible Catholic priest on American television -- arguably the most recognizable man of the cloth since Archbishop Fulton Sheen."

Christopher, 84, died of cancer on December 31 and is survived by his wife of 60 years and their two sons. His M*A*S*H co-stars hailed him as a professional who -- to an unusual degree -- disappeared into this singular role in a show that, in reruns, remains popular with millions.

, , , , , , ,

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

, , , , , , ,

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."

, , , , , ,

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

, , , , , ,
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?

, , ,

The gentle, evangelical insider religious satire of The Babylon Bee

, , ,
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.

, , , , ,

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

, , , , ,

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."

, , , , , , , , ,

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

, , , , , , , , ,

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."

, , , , , ,

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

, , , , , ,

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.

, , , , , ,

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

, , , , , ,

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."