Review
Culture
Film & TV
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 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. 

Article
Creed
Migration
7 min read

I wrote Jesus was a child refugee, I got called crazy

Digging into history uncovers uncomfortable truths.

Joan is Professor Emerita of Christian Origins and Second Temple Judaism, King’s College London. 

A red sandstone statue of Jesus as a child.
A Victorian statue of Jesus as a child.

As a historian of Jesus, I have sometimes been asked to comment on the question 'what would Jesus do today?'. I have sometimes responded. In September 2015 I wrote a guest post for the Jesus Blog, titled Jesus was a Refugee. It was on the story of baby Jesus’ escape to Egypt with his parents, as written in the Gospel of Matthew, which I conclude is historically true. It is interesting to me, because I want to understand what informed Jesus’ teaching as an adult. 

I am not a theologian, a priest or a pastor. I have spent my academic career carefully working out what is true or false in terms of the many stories of the ancient past. So, when I discuss anything, it is after years of study, collegial discussion and discernment. Historians like me know that our ancient accounts come from particular people at different times, telling things with particular points of view. They don’t seek to tell the whole truth, but they shine a light on what is important to them. They can tweak, spin, modify or drop what is not essential to them, and we see this process unfold in retellings. In what I do, I am as analytical about biblical stories as I am about anything else, recognising that I too am located in a particular time and place, with my own capacity to see or not see. With biblical stories this is both rewarding and challenging because to me they are also Scripture, in that they inform my faith, spirituality and practice. 

But this is a world in which sharing of expertise can go up in a puff of public pushback. 

I wrote at the height of scaremongering about Syrian refugees who were fleeing to Europe to escape the dangers and devastation in their country and, given its relevance, the post was picked up on other sites. On Bible History Daily, there was a furious reaction in comments. People asked whether – even if Jesus was a refugee – his experience could be mapped on to issues of the contemporary world, which are so very different. Some commenters insisted that Jesus and his family could not be aligned with economic refugees like Mexicans or bogus refugees who were actually Muslim terrorists. More stingingly, I was told I was crazy, a professor of b******t and I was blaspheming for even suggesting that Jesus was a refugee.  

That Jesus was a refugee has actually been recognised as part of his life from the very beginning of Christian tradition, and contemporary theologians like Barnabas Asprey can well explore what this means for faith. But it seems that some people were alarmed that I was diminishing Jesus by associating him with people they considered reprehensible.  

My job is to understand Jesus in his own world. If I do it properly, people may well find resonances with today. But I do also understand that it is a tricky thing to map Jesus onto contemporary circumstances, especially contentious ones. Over a hundred years ago the philosopher and physician Albert Schweitzer critiqued the 'quest of the historical Jesus' as a whole as covertly creating a liberal model of Jesus. He commented that the 'historical Jesus will be to our time a stranger and an enigma'. If we met Jesus today, he would seem completely alien to us. So, we do have to be careful when we look to him in our arguments concerning current issues. Yet, Schweitzer also put a lot of trust in the words of Jesus, because his 'spirit, which lies hidden in his words, is known in simplicity, and its influence is direct. Every saying contains in its own way the whole Jesus.' 

So where do we go with this? What did Jesus say? Frankly, Jesus’ ethos was utterly uncompromising. "Woe to you who are rich … woe to you who are well-fed now" (Luke 6:24-25), he said. There are a decent number of Jesus’ statements that suggest people who were economically struggling should be fed and welcomed, and those with wealth should share what they have with the have-nots. Jesus said to a rich man that he should "go, sell all that you have and give to the poor, and you will have treasure in heaven, and come, follow me" (Mark 10:21). Following Jesus was not about becoming destitute, but about joining a community of disciples who saw each other as one big family of siblings. In this group resources were shared (Acts 2:44-45 and 4:32-37). This is beyond philanthropy. And Jesus didn’t talk about the worthiness of the poor; the problem was not with the poor, it was with the rich.  

There’s a big question then in how to use Jesus as a model for ethics. To use Jesus as a model, you have to see the bigger picture of the whole movement he created, within an ancient context, a movement that does not exist any longer in its original form. Was Jesus a refugee? By calling anyone a refugee, in antiquity, I mean someone who flees their home to a place of refuge, to escape danger or disaster. As for my particular 'blasphemy', I reiterate it. Jesus was a child refugee: Jesus’ family fled from the danger of the Roman client king in Judaea, Herod, and escaped to Egypt. In classical Christian doctrine, this is not at all thought of as diminishing Jesus. It made Jesus one of us, in all our human hardships. 

I think he turns things around, radically, so that the life of the wandering refugee is actually a paradigm for action. 

Curiously, the fears expressed by the commenters on my post mirror ancient attitudes to poor, foreign people. Later apocryphal stories of the holy family in Egypt present them facing continual hostility from Egyptian townsfolk and attacks by robbers. These tales reflect an actual situation in which incoming foreigners, for whatever reason, were not welcome. For refugees, it could be a life of vulnerability.  In the second century, the anti-Christian writer Celsus scoffs that child Jesus in Egypt worked for hire because of his poverty (Origen, Contra Celsum 1:28). 

Egypt itself was not a totally safe place to be Jewish. Under the Roman prefect Flaccus (38-39 CE), soon after Jesus, there were riots and pogroms against the Jewish population of Alexandria, as the historian Josephus records (War 2:487-98; Ant. 18:257-60). In 41 CE the Roman emperor Claudius cautioned the long-settled Jewish population of Alexandria that they lived in 'a city not their own', and they were 'not to bring in or invite Jews who sail down to Alexandria from Syria[-Palestine]' (CPJ I:151). Later in the first century (70-73 CE), there were many Jewish refugees fleeing dangers in Judaea by going to Egypt (War 7: 407–419). Hundreds of these men, identified as troublemakers by the Romans, were killed, along with their families. I explore this and much more in my new book, Boy Jesus: Growing Up Judean in Turbulent Times. The life of a refugee was hard, and Jesus would have been told his parents’ stories about what they endured. 

This is what is so interesting to me, because we know from contemporary studies of trauma that this would have had an impact on Jesus. There is received trauma resulting from the suffering, persecutions, hardships and distresses of parents and grandparents. 

So how are these experiences reflected in Jesus’ sayings? I think he turns things around, radically, so that the life of the wandering refugee is actually a paradigm for action. Jesus, in his mission as a teacher and healer, identified himself as a displaced person: "Foxes have holes and the birds of the air have nests, but the son of humanity has nowhere to lay his head" (Matt. 8:20), he said. Jesus was itinerant, and he entered villages with nothing, offering healing and looking for kindness (food, shelter). He asked those who acted in his stead to go out without money or extra clothing, essentially to walk along the road like destitute refugees who had suddenly fled from home, relying on the generosity and hospitality of the ordinary people whose villages they entered (Mark 6.8-11). And it was precisely the villagers’ welcome or not to such people that showed what side they were on when it came to divine justice: "And if any place will not receive you and refuse to hear you, shake off the dust on your feet when you leave, for a testimony to them" (Mark 6.11).  

If the sayings of Jesus show his spirit, time and again this spirit rests with the experience of the marginalised, the displaced, the persecuted, the sick and the poor. I say this as a historian, thinking of Jesus in his own time. How that sits with contemporary issues remains a question. To what extent can people of modern times, with all our baggage of private ownership, debts and anxieties about our jobs and livelihoods, share in Jesus’ ethos? In answering it, I suspect few of us will feel comfortable, whatever side we think we are on.  But taking out the logs in our own eyes, rather than the specks in someone else’s, has never been easy. 

 

Boy Jesus: Growing Up Judaean in Turbulent Times, Joan Taylor, SPCK Publishing.

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