Article

Creed

General Election 24

Politics

3 July 2024

5 min read

Cross-check what matters when voting

Three perspectives to inform how we vote wisely.

Sam Rylands

Sam recently completed a doctorate in political theology and is the Vicar of St Andrew's, Fulham Fields.

A pen draws a cross in a box on a ballot form.

What principles will shape your vote this Thursday? What or who will primarily guide your decision in the ballot booth? Podcaster and former political advisor Alastair Campbell’s old adage “we don’t do God” suggests that religion and politics don’t mix. Yet some of the most important movements for social and political justice in modern history had Christians at their heart. Think Wilberforce, Fry, Bonhoeffer, Martin Luther King Jr., Desmond Tutu, or the lesser-known but worth-a-google, Melanesian Brotherhood.

What wisdom might the Christian faith have to offer when thinking, not just about this election, but how to approach politics in general? Like lions on the England football shirt, all good things come in threes– so, here are three Christian perspectives that can inform political engagement.

First, earthly kingdoms are penultimate. God’s kingdom is ultimate.

Perhaps the moment that Jesus is drawn most explicitly to comment on the politics of his day, was when he was asked about paying taxes. “Is it lawful to pay taxes to the emperor, or not?” Given how frustrating it can be watching politicians avoid responding directly to any question posed, we might sympathise with those who wanted a direct answer here. But for Jesus, to say yes would position him as a traitor to the Jewish people who wanted to resist and subvert the authority of the Roman Empire. To say no, however, would be to signal revolutionary intentions to lead a rebellion against the occupying Roman force.

Set within this political trap, Jesus responds by asking for a coin and turns the tables by asking, “whose face is on this coin?” “Caesar’s,” comes the reply. “Then give to the emperor what belongs to him,” says Jesus. Yet, before we allow this response to justify opting out of political practice or hallow every existing ruling power, Jesus continues: “But give to God what belongs to God.” And what belongs to God, we ask? Well, as the writer of the ancient Psalms poetry put it, “the earth is the Lord’s and all that is in it.” Nothing short of the whole universe and beyond belongs to God, the creator of heaven and earth. So, in taking the coin, Jesus is not giving a blanket affirmation of Caesar’s rule, but challenges each and every earthly kingdom by relativising it in the light of God’s eternal kingdom. What has sustained so many Christians in challenging and renewing the political context of their day is the trust that before, behind, and beyond the rising and falling of each earthly authority stands God’s eternal kingdom. This kingdom is not in competition with the kingdoms of earth, vying to secure its own territory, but is a kingdom inaugurated by a king who wears a crown of thorns, forgives his executioners, and is raised from the dead to proclaim, “peace be with you!” The call to follow Christ within the political is to retain the perspective of this eternal life.

Second, politics needs a perspective beyond personal interest.

Holding an eternal perspective, however, is not to say this world or politics does not matter. In contrast, justice, compassion, and seeking a world as God intends it to be matters precisely because of eternity. How we live here and now has eternal significance. How we treat one another and care for all of creation has eternal significance. What belongs to God? We all do. Each person is made in God’s image. As a coin bears the image of its ruler, so we are marked by the image of God. When we consider our political responsibility, therefore, we must do so not with our own cares or concerns alone, or even primarily. Rather, we should ask what political responsibility we have towards others? How do my political decisions or actions impact my neighbour, both local and global– particularly those on the underside of the political power of the day? As the Archbishop of York, Stephen Cotterill, recently shared, “as a Christian, I’m hoping and I’m praying, that when I vote, when you vote, we won’t be placing our vote according to what’s best for us, but for what’s going to be best for God’s world.” If God’s power is displayed most fully in Christ who came, not to be served, but to serve, giving his life for the sake of the world, then political power cannot be a means for securing our own advantage over and against others. A Christian approach to politics recognises that my flourishing is bound up and inseparable from the flourishing of all others.

Third, let’s disagree well.

However, even if we could agree on the importance of politics beyond personal interest, we won’t all agree on what this looks like in practice. For instance, whilst two people might agree on the need to ensure a welfare safety net for the most deprived in society, their perspectives on how best to achieve this might differ greatly. Christians are not immune from such disagreements and (not that you would know it from the promises of each political party) no political system can deliver heaven on earth. How then are we to reconcile our political differences?

Returning to the theme of belonging and image bearing, the church bears the image of Christ. The church is the Body of Christ, comprised of many different members yet united, as one body. One of Jesus’ final acts on earth was to pray that the church would be one in the same way that God, the Father, the Son, and the Holy Spirit are one. Unity in difference. This image offers a counterweight to how political differences are played out across the news and social media platforms. Here, to vote or think differently is often to become an enemy, or even to forfeit one’s belonging as a bearer of God’s image, another person worthy of inestimable dignity and value.

Belonging to Christ, however, is to know that belonging together runs deeper than divisions of race, gender, societal status, and political tribalism. It is to trust that my sister or brother in Christ, with whom I might strongly disagree politically, is a gift to me, a showing of Christ, that I would otherwise fail to see on my own. If Christ really is the way, the truth, and the life, then the truth is beyond my final possession of it. This does not mean indifference or relativism. As the former Archbishop of Canterbury, Rowan Williams, writes, “unity is Christ-shaped, or it is empty.” But if we can recognise one another placing our penultimate political judgements under the same scrutiny of Christ’s coming kingdom, then even in our disagreements, the church, bearing together in costly communion, reveals a belonging together that anticipates the ultimate: a world where things can only get better.

Review

Culture

Film & TV

7 August 2024

9 min read

Deadpool and Wolverine admit there’s only one story worth telling

Here's why a knowing take on post-modernity's void strikes a chord.

James Lawrence

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

Two superheroes, deadpool and Wolverine, stand and crouch respectively, in a desert like place.

'A desert of criticism and a wasteland of cynicism.'

Disney.

Can Marvel Jesus save a dying cinematic universe? That's the key question for the latest film from Marvel Studios and, it would seem at least from the box office, that the answer is: yes!

Deadpool & Wolverine, the snarky buddy comedy odd-ball team-up between Ryan Reynolds and Hugh Jackman, made over $590 million in its first week. That’s the sixth biggest opening of all time.

What follows is not a traditional review, you can find plenty of those online already. Instead, I want us to consider Deadpool & Wolverine as a cultural artefact that displays some of the key themes of our society. The stories that we tell, including the films that Hollywood produces, can act as a mirror to our culture, giving us an opportunity to see trends that we might have otherwise missed. 

As a mirror to this cultural moment, I want to suggest that Deadpool & Wolverine presents us with a cynical and nihilistic take on the end of an era in which all the protagonists can do is barrage the audience with an endless stream of jokes and quips.

The third instalment of the Deadpool trilogy is the first to be set in the Marvel Cinematic Universe (MCU) since Disney acquired the rights to 20th Century Fox for $71.3 billion. Until now all the X-men movies, the Wolverine movies, the prequels and the Deadpool movies have been produced by 20th Century Fox. But it’s the start of a new chapter for the X-men franchise.

The Disney executives hope for a new lease of life for the MCU, which has been struggling to find its way ever since the epic conclusion to Avengers: End Game. Of course, ordinarily, this sort of corporate back and forth would be irrelevant when thinking about the themes of a movie, but, in this case, the business backdrop is effectively a major plot-point of the film.

A significant portion of the dialogue is spent discussing the acquisition of the X-men franchise by Disney. Deadpool talks about what Kevin Feige (president of Marvel Studios) will and won’t allow in his films. A major action set-piece takes place next to a ruin of the 20th Century Fox logo. Deadpool jokes with Wolverine that he is joined the MCU when they are in a bit of a slump, and, when Deadpool is asked to save the universe, he takes this to mean that he should save the entire MCU franchise describing himself as ‘Marvel Jesus’. The movie knows that this film is the product of a business deal, and it wants its audience to know that too.

So, this film takes place at the end of an era and to highlight this throughout the film, a series of high-profile cameos are made by actors and characters from the last 24 years (no spoilers here). They are brought into the movie so that they might be given a final send off. A heroic on camera action hero death, one last valiant fight before the curtain falls. In a sense, Deadpool & Wolverine is a eulogy to the comic film industry, an era has passed away, we live only in the ruins of a once great edifice and all we can do is joke around and reminisce about the good old days

Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

The scepticism Deadpool and Wolverine exhibits about the movie industry, correlates neatly with a post-modern disposition to be suspicious about the role of power. Deadpool knows, and points out to his audience, that it is only the vested interests of corporate power that allow this film to take place, and he revels with delight when these corporations seem to be failing. He is under no illusions that the studios are benign entities who merely hope to make worthwhile art - Deadpool is a cynic, the jester, who takes great satisfaction in declaring that the emperor has no clothes.

Coupled with this is the constant breaking of the fourth wall. This is one of Deadpool’s foundational characteristics, he has been breaking the fourth wall since his earliest appearance in the comics and the previous two films. Deadpool uses this ability to deconstruct and point out some of the quirks of the superhero genre. For example, in the first film when a villain jumps into the scene from a great height, Deadpool says to the audience: “Superhero landing. She's gonna do a superhero landing… You know, that's really hard on your knees.” (This joke is repeated in Deadpool & Wolverine).

The deconstructionist tone contrasts sharply with Marvel’s previous movies, particularly the grand narrative which spanned 22 films and culminated in Avengers: Endgame- an unashamed mythic narrative about the defeat of evil and the triumph of good over bad. Yes, there were jokes and subversive elements in the MCU before Deadpool, but in the main the characters like Captain America are sincere and the movie takes them and their motivations seriously. Deadpool in contrast delights in deconstructing the narrative: Marvel’s grand narrative is over, Fox’s cinematic universe is over, and it is unclear if they will be able to successfully tell another epic mythic story.

All of this, I imagine, sounds quite dystopian and that is not just how the film feels but also serves as the set piece for the middle section of the story. The misadventure of Deadpool & Wolverine lands both characters in “the void at the end of time” a place described as a Mad Max set, a barren desert where only the strongest survive by dominating the weak. In this hellish environment, Deadpool is completely unphased, he continues to make joke after joke, despite multiple characters in the movie telling him to ‘shut up’, and he displays zero remorse when his joking around results in other characters being killed. The humour of this film is the final element which makes it feel very post-modern and nihilistic. Deadpool and Wolverine are left in a hellscape and all they can do is fight with one another and make non-stop sarcastic quips. Deadpool’s is a dark humour, laughing death in the face, traipsing around the trash heap at the end of time incessantly spouting one-liners.

Paul Ricoeur, the French Christian and philosopher describes in his work two instincts in modernity: a ‘willingness to listen’ and a ‘willingness to suspect.’ The willingness to suspect is best exemplified by the three ‘masters of suspicion’, Karl Marx, Friedrich Nietzsche and Sigmund Freud. Following these masters of suspicion, modernity has learnt to be critical and to criticise texts, narratives, motives and power. Ricoeur thinks that we need both instincts, we need to be able to listen and we should be able to suspect, but, he cautions post-modern society that it is possible to find yourself in a desert of criticism in which there is nothing symbolic, nothing sacred, nothing but power and will. I have never seen a better depiction of the ‘desert of criticism’ put to film than Deadpool’s void at the end of time.

Perhaps the film is doing this because this is, in fact, the only story worth telling.

All of this was bubbling around in the back of my head when the film came to its final climax. It is my experience of the finale that made me want to write this review of the film. After almost two hours of post-modern nihilism, in the denouement, our two protagonists are faced with the classic superhero choice to sacrifice themselves so that they can save their universe from imminent destruction. And, of course, like good superheroes, they go willingly into danger and give up their lives for the sake of their friends.

I had such a strange set of emotions as I watched this part of the story unfold.

Firstly, I thought “Oh, right, this is the moment when the hero sacrifices himself- that is obviously what comes next.” I have been conditioned by decades of superhero films to expect this sequence of events at the end of the movie. But secondly, I found myself thinking. “This is so out of place with the rest of the film, this is pure sentimental heroics, we’ve just had two hours of cynicism and fourth wall breaking and the climax of the whole thing is a traditional superhero ending?!” And then, lastly, I found myself wonderful, ‘Perhaps the film is doing this because this is, in fact, the only story worth telling- that everything up to this point has only been playing at cynicism because, at a fundamental level, the filmmakers realise that cynicism and scepticism aren’t enough to make a compelling story.”

Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story.

Deadpool & Wolverine is a strikingly resonant film, it has struck a chord with contemporary culture. The film offers us a mirror to the contemporary society in which we live and I think we must look deeply into the mirror if we are going to accurately diagnose the ills of our current cultural moment.

Many people today feel like they are living in a desert at the end of time, devoid of meaningful symbolism and sustenance for the soul. The hollowing out of meaning in post-modern Western culture has resulted in a tinderbox which is ready to combust at a moment's notice. “Over the last month we have seen riots breakout across England caused by an incident in Southport that sent sparks flying.”. Relatedly, contemporary Western society feels as if it has lost its narrative. It is as if, just like the MCU, our best story is behind us, and we are flailing to find a new story. Look at the average Netflix viewing figures to discover that many of us only enjoy watching re-runs of our favourite TV shows from 10 years ago.

The cynicism and scepticism of Deadpool & Wolverine resonates with many people in the contemporary West, and the film offers two ways of reacting to the pain of our cultural moment.

For most of the film Deadpool saunters through this nihilistic hellscape spouting a barrage of gags, sex-jokes and sarcastic quips- that is the first option, to laugh in the face of meaninglessness. But for the climax of the movie, it’s as if the writers knew that they couldn’t maintain the ruse. When the characters of Deadpool and Wolverine make the choice to sacrifice themselves for the sake of others they choose to live for something bigger than themselves. They admit in their actions that they aren’t the nihilists they were pretending to be, and the film acknowledges that in the final analysis there is nothing ultimately satisfying, nothing ultimately sustaining, in that way of being in the world.

Or, to put it another way, the only way that Deadpool could become ‘Marvel Jesus’ is by following in the footsteps of actual Jesus: by sacrificing his life for those whom he loved and by discovering that true life, resurrection life, is always and only ever found on the far side of death.

Paul Ricoeur writes that ‘beyond the desert of criticism, we wish to be called again’, called to a second, or post-critical naïveté. Naivete is a deliberately provocative term to use, no one wants to be considered naïve (even postcritically naïve!), so perhaps you might prefer to think of it as synonymous with restored or as experiencing a recollection of meaning. I think many people in the West today are waking up to the challenge of living in a desert of criticism and a wasteland of cynicism. The capacity to criticise is an important skill, but it has run rampant and left out society with a void of meaning in which nothing is sacred, nothing is enchanted.

Deadpool & Wolverine speaks of a culture desperately in need of a new story, a narrative within which meaning can be found. The film paints in vivid imagery the result of a society that has lost its narrative. And, in the end, Deadpool and Wolverine seems to admit that there is only one story worth telling: self-sacrificial death and resurrection.