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7 min read

Alice Roberts’ new book is the Da Vinci Code without the pretence of fiction

Tomes like Domination are part of the problem of public discourse about Christianity, not the solution
A head and shoulder image of Alice Roberts against a purple background
Alice Roberts.
alice-roberts.co.uk.

Alice Roberts would like you to read her book, thank you very much.

She recently took to X to bemoan the “epidemic” of people offering thoughts about her latest offering, without actually having read it. The person who prompted Roberts’ exasperation was a senior lecturer in Biblical Studies and the latest in a long of professional scholars of Christianity who had greeted the release of the book with little more than a weary eyeroll. 

The reason so many people felt as though they didn’t need to read it is because it is utterly predictable. Even a cursory glance at any of the marketing that has accompanied the publication of Domination: The Fall of the Roman Empire and the Rise of Christianity really does tell you all you need to know. It really is the book you think it is. 

You already know what this book is going to argue. Just like you already know how this review is going to go. I’m a theology lecturer who works for the Church of England; Roberts is an outspoken atheist and former president of Humanists UK. Of course I’m going to disagree with this book. It’s hardly the sort of plot twist you endure an M. Night Shyamalan film for.

But, for the avoidance of doubt, let me be clear: I don’t dislike Alice Roberts’ book because I’m a Christian and she’s not. I dislike Roberts’ book simply because it’s not very good.  

Roberts seeks to “lift the veil on secrets that have been hidden in plain sight.” (Always be wary of someone who claims to have noticed something no-one else has for the last 2,000 years). These ‘secrets’, she suggests, are that “the main reasons [Christianity spread so successfully] were not to be found in the pages of the Bible, but in a powerful alliance born of complex – and very human – incentives”.  

For Roberts, the central, overriding reason why Christianity flourished was simply economic and political power. In her own words, “the worldly aspects of the Church are undeniable. Wealth and power go hand-in-hand, and the Church had both in abundance.” It’s never clear who actually is thought to be denying this, except a vague group described as “apologist historians (including some who claim not to be Christian, but seem to be suffering from some kind of Stockholm syndrome) and theologians”.  

And this power-grab has been the aim since the earliest moments of the Church’s existence. The Apostle Paul is painted in cartoonishly Machiavellian tones: “As a Pharisee, a member of an established Jewish sect, Saul would have been a small fish in a big pond. The switch to this new breakaway sect [Christianity] would make him a prominent figure in a small but rapidly growing movement”. 

A few pages later – in a section that made me laugh so hard I had to put the book down for a few minutes to collect myself – Roberts offers a genuinely baffling reading of one of Paul’s early letters, to a group of Christians in the city of Corinth. In the letter, Paul speaks about divisions in the Church, with Christians claiming to ‘follow’ different leaders (such as Paul and Apollos). Roberts writes that “there’s a hint that Paul may have viewed Apollos as competitor” and continues: 

“When Paul wrote his first letter to ‘the Corinthians’ … he exhorted them to see themselves as united, whether they were following him, [or] Apollos … Paul, however disgruntled he might have been about the competition represented by other, potentially more eloquent, preachers, had decided it was best to team up. Still, he couldn’t quite resist suggesting his superiority – or at least, his priority – to Apollos: ‘I have planted, Apollos watered.’”. 

See?! SEE?! It’s all about power!! 

Well, that last bit is a quote from Paul’s first letter to the Corinthians, the third chapter and its sixth verse. Now, what Roberts doesn’t tell the reader is that she has left off the rest of the verse, and the verse that follows. “I planted, Apollos watered, but God gave the growth. So neither the one who plants nor the one who waters is anything, but only God who gives the growth.”  

But this is very different indeed to the impression Roberts gives us. Paul is quite clearly not claiming any sense of superiority over Apollos. No, he claims they’re both nothing, and that God alone deserves credit for anything good done by either of them. Not that you would know this from Roberts’ butchering of biblical texts.  

(As a slightly technical aside, the bit Roberts does quote should read ‘I planted,’ not ‘I have planted’. This sounds trivial but in the Greek text, Paul writes in a different tense than the one Roberts translates it as. This made me wonder what translation of the Bible was using or whether it was her own. However, there are no notes in the book. At all. And no mention of Bible translation that I could find. If we’re engaging in character assassinations of folk no longer alive to defend themselves, we might think that attention to the precise wording of their thought might be important. Apparently not). 

And there’s the rub. Roberts leave precisely zero room for earnest belief in God. Not her belief in God, obviously, but that the people whose words she has hacked and placed before us might earnestly think that their actions seek the betterment of those around them because of their belief in God. No. It’s all about power. I’ve highlighted her treatment of Paul in particular (again, because I found it genuinely hilarious), but time would fail me if I tried to recount all the ways that other figures in Church history are treated similarly. 

Roberts’ has complained about Frank Cottrell-Boyce (whom, she notes, is “a Catholic” as though this is in any way relevant to whether he’s right) for describing Domination as ‘cynical’. But how else could we possibly describe this? Yes, it is – of course – completely reasonable to highlight the social, cultural, political, and economic forces at work in and around the development of Christianity (is anyone actually suggesting otherwise?). And yes, of course some people have used Christianity for personal gain (seriously: is anyone actually suggesting otherwise?). 

But Roberts goes far beyond both points. Instead, she is simply stripping back the theological content of Christianity and claiming to have found “secrets that have been hidden in plain sight” having done so. But of course human motivation is all that is left once you strip belief in God out of religion, because what else could there be? Roberts’ prose may be captivating, but her argument is deeply immature and reductive. It’s like a toddler who’s just read Michel Foucault’s work on social power for the first time: an impressive toddler, to be sure, but a toddler nonetheless.  

Roberts does acknowledge that “people are complex, human societies are complex”, but this is little more than lip-service to nuance. None of this complexity is found in the actual argument of her book. It reminds me of someone saying, “no offence, but …” before going on to say something deeply offensive. A fleeting caveat doesn’t redeem a simplistic argument. 

In this respect, it’s quite telling that the front-cover endorsement comes from Stephen Fry who describes it as “a historical thriller of the highest quality.” In one respect, he’s not wrong. It reads like a thriller and – questions of content aside – might easily grip read readers with its compelling prose and rhetorical flourishes. But that’s because this is The Da Vinci Code without the pretence of fiction. A compellingly told conspiracy theory dressed up in just enough spliced-together reality to feign plausibility.  

Public discourse about religion and faith is too often conducted with a sneering cynicism that seeks to ride roughshod over the sincerely held beliefs of actual people who would actually describe themselves as religious. Books like Domination are part of the problem, not the solution.  

Maybe this is why I find Domination bordering on offensive. Not because of its content. (If I got upset every time someone ascribed bad motivations to the Church I’d never leave the house.) No, I find it borderline offensive because of its sheer existence. Whether you like it or not, religion has been and is an irrevocably vital part of who we are and where we’ve come from. Religious belief deserves at the very least to be understood, even if not agreed with. And so, when I finished Domination, I was left wondering: is that is? Is this the highest standard of discourse society can really be offered about religion? Dan Brown in an academic gown? Heaven help us, if so. 

The covers may be similar, and the titles may sound alike, but this is not Tom Holland’s Dominion. Where Holland’s work remains one of the most insightful and thoughtful accessible books about the development of Christianity and modern society, Roberts’ cynicism (for that is what it is) is both tiresome and tiring. (Moreover, that Holland’s book is not even mentioned once speaks volumes about Roberts’ work. That Roberts insists she has read it only makes that absence more baffling). 

The Church deserves more rigorous champions of atheism to scrutinise its belief; society needs a better class of conversation about religion and its role in our history. I fear Alice Roberts is not the former; Domination is certainly not the latter.  

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Review
Creed
Film & TV
Friendship
4 min read

Testament soulfully re-tells the acts that changed the world

What happened after The Chosen?

Giles is a writer and creative who hosts the God in Film podcast.

A man stands the landing of an external staircase and stares out.
Angel Studios.

Testament reimagines the story of how Jesus’ disciples spread the good news of him to the world by transplanting it to an alternate-modern era. Swapping Jerusalem for London. As the followers risk everything to preach the good news, the Temple races to silence them before the oppressive Imperium retaliates. But public miracles and divided loyalties force both sides to confront the true cost of their choices. In the first episode it asks the question, what would it be like if the Son of God had come down from heaven, come to your very hometown, and you’d missed him? 

Most re-tellings of the early church usually end the story either with Jesus’ resurrection, or his ascension into heaven. Testament starts the action just after Pentecost, fifty days after Jesus’ death and resurrection. In Christianity, Pentecost is the day when the Holy Spirit descended on the Apostles like “a violent wind” and gave them not just the ability to be understood in any language, but also the courage and conviction to go out and tell people about Jesus. We see much of the action through the character of Stephen, a young man who decides to follow Jesus after hearing the Apostles preach. Consequently, Stephen’s mother accuses him of heresy and throws him onto the street, making him fully dependent on this early Jesus movement.  

In the first episode, the storytellers seem to have presented themselves with a bit of a challenge, by starting the action at Pentecost. Not only does it seem like the most interesting events have just happened off camera, but we’re also meeting these characters in a moment of spiritual awakening and holy joy, which is notoriously hard to depict on screen. Especially with characters we’ve just met. Nonetheless, as they navigate the logistics of having so many converts all at once (the kind of happy problem any church minister would like to have) we see that the Apostles have a familiar, lived-in quality to their inter-personal dynamics. You can easily believe that these very different men have spent every day living and working with each other for the last three years until they’ve sanded off the rough edges of their relationships.  

Whilst the show doesn’t always hold together at first, it builds momentum by tackling some of the more difficult parts of the book of Acts with sensitivity and nuance. It’s helped by the performances being incredibly watchable. The colour-blind casting is a delight, and perhaps reflective of Christianity being the most ethnically diverse religion on the planet. Tom Simper, who plays Peter, has an incredibly expressive face and a compassionate manner. Kenneth Omole who plays John can be vulnerable as he returns to the garden of Gethsemane to mourn the absence of his friend and saviour. Yet the next scene, where he is confronted by a Temple priest, he emanates a quiet authority. You can’t take your eyes off him.

If nothing else, this show gives Saul a compelling backstory and a terrifying characterisation.

Making Stephen the point of view character is a bold narrative choice. Anyone with a passing knowledge of the New Testament might feel anxious for the character, and having him be played by such a young actor as Charles Beaven underscores the upcoming tragedy. Mogali Masuku plays Mary as a woman with her head thoroughly screwed on. Her storyline shows Mary ministering to addicts and victims of human trafficking, looking gangsters dead in the eye and telling them these lost souls belong to Jesus now. On the other side of the divide is Saul. Eben Figueiredo plays him with the type of zeal that allows people to do both wonderous and terrible things. If nothing else, this show gives Saul a compelling backstory and a terrifying characterisation. It’s Saul, not the Temple establishment, who is the main antagonist of this season.  

If there is one clear misstep, perhaps it’s the depiction of what the show calls ‘The Sentinels’, the foot soldiers of the ‘Imperium’, a stand-in for the Roman Empire. Rather than being dressed in modern military fatigues, they are clad head to toe in a red, faceless body armour. The type that would be more at home in the Star Wars universe. They’re possibly dressed like this to represent the empire’s overwhelming and sinister military power, but as we see repeatedly through world events, human cruelty looks painfully normal. 

The timing of this show seems noteworthy as well. This show drops roughly a year after Angel Studios, the producers of Testament, were forced to split from the creators of The Chosen. Following the lives of the Apostles as they begin to follow Jesus, The Chosen became a monster hit and the flagship show of Angel Studios’ catalogue. So a show following the lives of the Apostles after Jesus leaves them (albeit transplanted to a different time), might be an attempt by Angel Studios to recapture some of the popularity they have lost.  

Testament definitely has a faltering start, but it has all the ingredients to be compelling TV. If you can stick with this show as it finds its feet, you will be treated to a soulful depiction of an oft-overlooked part of the Jesus story. 

Watch the trailer

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Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
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If you enjoy Seen & Unseen, would you consider making a gift towards our work?

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Graham Tomlin
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