Should We Dramatize Jesus’ Life for Television? + Today’s Digest

Our daily rundown of the articles from around the web that we feel our readers would enjoy and appreciate. We hope to highlight the best of what’s around.

Public Square Bulletin recommends:

Should We Dramatize Jesus’s Life for Television?

John Piper – Desiring God

This interview posits an interesting question. I think the obvious answer is yes, but I find it significant that the Church’s Bible videos stick strictly with the existing language adding as little as possible to the accounts. What do you think?

Most Christian parents are worried about their kids’ spiritual health

Ryan Foley – Christian Post

As the debate continues to rage around elementary education on sexuality and gender, this poll provides useful context to where Christian parents are coming from.

The Antisocial Strain of Sincere Religious Beliefs Is on the Rise

Charles McCrary – The New Republic

The left-leaning New Republic with a good-faith, but nevertheless troubling approach to religious freedom that frames the free exercise of religion as harmful. But never tries to define this harm, or seek to balance competing harms. This mimics this recent Twitter thread where many of the respondents equated religious freedom with the freedom to discriminate.

An Orthodox Theory of Brainworms

Lucian Staiano-Daniels – Mere Orthodoxy

It’s long been popular to call political extremism a “form of religion,” but these analyses have usually come from Protestant perspectives. Staiano-Daniels explores the idea from an explicitly Orthodox lens.

Honoring and Renewing Dr. King’s Other, More Challenging, Dream— 55 Years Later

Peter Laarman – Religion Dispatches

On the 54th anniversary of Martin Luther King, Jr.’s death, a look back at his Riverside address denouncing the Vietnam war, recognizing the value of each individual person, and decrying the “spiritual death” he saw around him.

 

On Key

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Demanding Conversations About Violence

In the weeks since the premiere of the Under the Banner of Heaven miniseries, there has been a broad consensus that the show doesn’t quite work. Its attempt to paint Latter-day Saints as promoting violence just doesn’t land. And its depiction of Latter-day Saints simply doesn’t resonate because it’s too dissimilar. This of course must come as some disappointment to critics of the Church who had hoped the series would prompt more conversations around the issues they deem problematic such as how the Church promotes violence. Into this void comes a new argument made most prominently by Taylor Petrey, but also echoed by a student columnist at the University of Utah, and now promoted on Twitter by Benjamin Park—namely, that because there has been some violence done by some Latter-day Saints who use the language of their culture in perpetrating it, Latter-day Saints should watch the series with the intent to learn how to make their Church less violent. Both Petrey and Park had previously criticized the series for its poor job in portraying Latter-day Saints, but have since shifted. We don’t want to attack the Daily Utah Chronicle piece because it’s a student article. But Petrey and Park should know better. Some of us have been on the record defending Petrey as a serious scholar, despite the fact that his conclusions don’t often derive well from the available evidence. But Petrey seems to suggest in his article that any violence that uses the language of religion must have been inspired by that religion. We understand the temptation of this point of view. What else could we blame violence on if not the culture it arose in? But Petrey’s position assumes that human beings are naturally non-violent, and only become violent as a result of their culture. This is a major assumption in the Robert Orsi essay that Petrey relies on extensively. Parks’ tweets similarly assume that any conversation about Latter-day Saints and violence must concede that the faith contributes to the violence in some way. But the causes of violence are often complicated. Because of the importance of our innate nature in creating violence, even the most peaceful society would still produce fringe examples of extreme violence. Having a Latter-day Saint who becomes violent isn’t proof that the faith contributes to that violence, even if the perpetrator uses the language of their culture in perpetuating that violence. Cultural contexts can then increase or decrease the likelihood of that emerging, but no culture has discovered how to remove it altogether. And because Under the Banner of Heaven fails to present a clear picture of what most experience as Latter-day Saint culture, it doesn’t do much to establish whether a Latter-day Saint context is more prone to cause violence than others. Those who use Latter-day Saint or another religious language and context to perpetuate violence weren’t necessarily made violent by those cultures. But rather, violent individuals will leverage anything around them to perpetrate their violence. We’re aware of many other similar examples—of abusers, for instance, who used the language of therapy to perpetuate abuse. But it would be absurd to suggest that therapeutic culture caused that abuse. Even pacifist language has been known to be used to perpetuate violence by shaming survivors into silence. An abusive person will draw upon the most powerful language available within their given cultural context and weaponize that. This is not coincidentally the conclusion made by prosecutors in the Lafferty case, that the murder was about power and relationships and that religion was merely the pretext. Does the Church of Jesus Christ disproportionately create violent offenders? We’d be interested in reading any definitive social science research on the question, but unfortunately, those promoting this point of view or hoping to have this conversation have not yet presented any. And rather than attempt to answer this question clearly itself, Under the Banner of Heaven skips the question and takes it as a given. A study of this sort could start the conversation Petrey, Parks, and the student author hope for. Instead, we get a story about a 38-year-old murder that was notable mainly for how unusual it was among the Latter-day Saint community and perpetrated by someone who had recently been kicked out of the Church for their extremist views. It should not surprise anyone that it hasn’t prompted anyone to conclude there’s a problem with violence among Latter-day Saints.

The Room Next Door Review

“The Room Next Door” is the latest example of arthouse social engineering.  The film is about a troubled woman, Martha, who in the midst of cancer treatments decides to commit suicide. If this bothers you, the film implies, it is because there is something wrong with you. This is all the more troubling, because the film, in many ways, is beautiful. It is directed by Pedro Almodóvar, one of the most acclaimed living film directors, in his first full-length film in English. And you can’t help but be taken by the beauty of it all. The film is suffused with the soft colors of the woods. Despite being an entire screenplay full of little except two friends talking, the camera work keeps the film alive and moving. And Julianne Moore and Tilda Swinton who play Ingrid and Martha once again give impeccable, engaging performances, that you can’t help but admire.  But all the beauty in this film is in service of a story that is decidedly ugly—but not self-awarely so. Our two main characters are old friends who met as young writers. Ingrid has published a best seller recently, where she writes about how she can’t accept death. On her publicity tour, she learns that Martha is in the hospital with cancer. She goes to visit her and reignite their friendship. We learn through the conversations that these characters aren’t bad people, necessarily, they just struggle to see a world outside of their own desires and consciousness. They have repeatedly avoided building relationships or having families. Martha does have a daughter. But she chased her father away, then lied to her about who he was her whole life, and then proceeded to be an absent mother so she could chase the romanticism of being a war correspondent.  Now that she is sick and dying, she notices that she has no one in her life. The movie comments on this like an unusual quirk, rather than the inevitable result of a life of bad decisions. We learn early on that cancer treatment can be a roller coaster with euphoric peaks, and miserable nadirs. During one such rut, Martha purchases a suicide pill, and decides she will kill herself. She reaches out to Ingrid and asks her to come on vacation with her, so that she will have someone in the house when she does it.  Ingrid agrees. And although she early on expresses some discomfort, she quickly respects Martha’s wishes to largely pretend nothing is happening. They have a lovely vacation in upstate New York watching old movies and reading books. While they are there, Ingrid reconnects with Damien (John Turturo) an ex-boyfriend of both hers and Martha’s. He is horrified at the state of the world, and seems to only live for sex (or to constantly talk about sex.) Damien is not a sympathetic character, and perhaps the audience is supposed to read that his unpleasant and helpless politics are akin to Martha’s helpless approach to life. If so the audience hardly has time to ponder it under a heavy heaping of affirmations about the power to choose, and the dignity to die.  Eventually, Martha does exactly what she promised to do. There is a brief police investigation where the officer (Alessandro Nivola) expresses concern that Ingrid would have knowingly not gotten help for her friend. A lawyer comes and helpfully tells the audience we can ignore that concern because he is a religious fanatic. This is the kind of movie that alludes to James Joyce not just once but three times. It is so pleased with just how artsy it is. And for a film with a message like “life isn’t worth fighting for,” the best comfort is that it’s so artsy not a lot of people will watch it.  The only people I would recommend watching this film is for those studying how society has devalued human life, and how good tools can be misused to harm people. The film is rated PG-13. It includes several normalized same-sex relationships, and some joking about polyamorous relationships. But obviously the biggest warning is the way it normalizes and glamorizes suicide. If you watch it with older teenagers, I would focus on questions about the choice that Martha made, and how family and relationships could have helped her make better choices. I might ask about how Ingrid could have been a better or more caring friend. One out of five stars. “The Room Next Door” will be released in theaters nationwide January 17, 2025.

The Conference Themes That Press on Our Mind

This last weekend, we participated in our semiannual General Conference, listening to the leaders of The Church of Jesus Christ of Latter-day Saints. Here are some themes that stood out to our staff.