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Film & TV

25 August 2023

8 min read

Dear Greta Gerwig: how your Netflix Narnia can be a roaring success

Narnia fan John Kuhrt pens an open letter to a daunted Hollywood director on helping her handle the Great Story.

Jon Kuhrt

Jon Kuhrt is CEO of Hope into Action, a homelessness charity. He is a former government adviser on how faith groups address rough sleeping.

A film director stands next to a camera to look at its screen, while a camera operator looks on

Dear Greta,

Congratulations on being appointed Screenwriter and Director for Netflix’s The Chronicles of Narnia. I really enjoyed your films Ladybird and Little Women and I am seeing Barbie this week as I have been away. It’s great to see a writer/director of your standing getting this crucial job.

I know you feel daunted to take on this job and I am writing to share five thoughts on what you need to bear in mind to make the series a success. I cannot claim to know anything about producing films or TV series. But I do know about Narnia.

Like millions of others, the books have been very significant to me. I read them first when I was a teenager, but I have continued to re-read them into adulthood. They have given me a reference point for some of my deepest questions about purpose, faith, life and death.

Disney/Walden Media’s Narnia series faltered after three films. The Lion, the Witch and the Wardrobe (2005) was a huge box-office hit but was followed by less successful adaptations of Prince Caspian (2008) and The Voyage of the Dawn Treader (2010). I thought all three films had many good qualities but the abandonment of the project less than halfway through shows the challenges of bringing Narnia to visual life.

So, with all this in mind, these are my five tips for how to create a great Narnia series:

1. Understand the thinking behind the books

The author, C.S. Lewis, was both an academic expert in medieval literature and a high-profile Christian author and communicator. He was a brilliant but complex man. Understanding him, his beliefs and his aims in writing Narnia is fundamental.

The two best books on this subject are Michael Ward’s Planet Narnia: the Seven Heavens in the Imagination of C.S. Lewis and Rowan Williams’ The Lion’s World: a journey into the heart of Narnia.

Ward’s book is a highly academic dissection of the hidden ‘key’ which Lewis implanted within each book (it was subsequently published in an abridged and more accessible version as The Narnia Code). The mish-mash of themes and diverse myths and legends in Narnia has puzzled and frustrated academic readers for decades. It was one reason why his friend J.R.R. Tolkein disliked the books so much. But Ward argues that the coherence and distinct atmosphere of each book comes from each being based on a different planet from the medieval cosmos. It is a thesis which has won almost unanimous affirmation.

Williams’ book is very different. It is a short but deep reflection on the theology that Lewis was conveying through the Narnia tales. His opening chapter discusses ‘The point of Narnia’ and he uses Shakespeare, Dostoevsky and Augustine to explore the ideas in the stories. He also assesses and responds to the criticism the books have faced.

2. Recreate the distinct atmosphere of each book

No other books have given me such a vivid experience of ‘going into another world’ as the Narnia books have. I now realise this is because of the most fundamental, yet intangible, strength of the books: the atmosphere, mood or tone that Lewis creates.

As Ward writes, quoting Lewis:

“Lovers of romances go back and back to such stories in the same way that we go ‘back to a fruit for its taste, to a region for its whole atmosphere – to Donegal for it Donegality and London for its Londonness.’ ”

Lewis was fascinated by literature which drew the reader into enjoyment of a story by indwelling it: seeing ‘through it’ rather than ‘at it’. Ward coins the term ‘donegality’ to describe this hidden element which establishes an intrinsic quality: ‘…the inner meaning of a romance cannot be flagged up by the author without altering its true nature. It has to remain hidden, woven into the warp and woof the story.’

The challenge for Netflix is that each Narnia book has a distinct ‘donegality’ based on the ancient themes and characteristics associated with the seven planets. This makes them very different to the Harry Potter books, which have a more uniform feel and consistency. Capturing the distinctive essence of each book will be vital to re-create the atmosphere Lewis aimed for.

3. Embrace Narnia’s spirituality

All adaptations of Narnia have to grapple with how they will handle the clear spiritual themes within the books. Faith makes corporations nervous but ‘theological due-diligence’ will be a key part of the creative and strategic discussions. I would advise Netflix to be bold and as true to Lewis’ thinking as possible.

In its 1980s, the BBC airbrushed spirituality out and this was one factor which made it a poor adaption. In contrast, Disney were braver in their films. As one newspaper wrote after the box office success of the first film ‘Disney finds a way to worship both God and Mammon’.

However, Disney never got to attempt some of the most theologically challenging scenes in the series. Narnia’s creation in The Magician’s Nephew and its apocalypse and depictions of heavenly re-creation in The Last Battle will be immensely difficult to convey on screen. These scenes will not work without confidence and clarity about what Lewis was trying to get across.

Rather than seeing them simplistically as allegories of Christian faith, it is best to see the stories as deeply infused with spiritual meaning. Rowan Williams answers the question ‘What is the point of Narnia?’ by saying that Lewis is doing nothing less than ‘trying to recreate for the reader what it is like to encounter God’. He is trying to

‘rinse out what is stale in our thinking about Christianity – which is almost everything.’

But this does not mean being preachy. Williams makes the point that ‘there is no church in Narnia, no religion even’.

Instead the spirituality is embedded within the ‘non-religious’ action: the bravery, treachery, sibling tension, bullying, reconciliation and forgiveness which are jam-packed into the stories. Spiritual truth is embedded and woven within each story.

4. Get the central character right

The character of Aslan stands right at the heart of the books. He is the only character who features in all seven books in the series, he sings the world into existence and presides over its end. He is the Beginning and the End, the Alpha and Omega of the whole story.

Aslan is very obviously an ‘authority figure’ but Lewis’ achievement is to craft a character who is both immensely powerful and enduringly attractive. And the key to this is the subversive nature of his authority. In an age where there is so much questioning of structural inequality and systemic injustice this is an aspect which Netflix should emphasise.

Rowan Williams draws this out with great insight: in Narnia ‘evil is cast as the ultimate force of reaction; we are invited to see ourselves as living ‘under occupation’ and summoned to join a resistance movement.’ Aslan’s wildness, his animality, represents the unpredictable world of grace which opposes the ‘ordered state of sin’ of the White Witch, King Miraz or (most deeply) the prisons we build for ourselves. Williams writes:

‘Transcendance is the wildness of joy; and the truth of God becomes a revolution against what we have made of ourselves’.

This is why Aslan’s victories lead to riotous partying. As Williams points out this is an ‘explosion of liberating festivity’ which (uncomfortably for some Christian readers) includes pagan revelry. At the end of Prince Caspian both the god Bacchus and a drunken Silenus make appearances to celebrate the liberation Aslan brings.

Aslan is the focus of hope not because he ‘saves souls’ but because he is the liberator of people and the whole of creation. Getting Aslan right will be a huge part of getting Narnia right.

5. Interpret it for a new audience

The Narnia books have faced criticism from authors such as Philip Pullman and J.K. Rowling. When Disney released the first film, Guardian columnist Polly Toynbee wrote an article titled ‘Narnia represents everything that is most hateful about religion’.

Rowan Williams engages head-on with the accusations that the books have overtones of racism and sexism and that they glorify violence. Whilst allowing for the fact that Lewis was an author of his time, he accepts the discomfort that modern readers will feel, for example, in how the ‘dark-skinned’ Calormenes are presented.

He also discusses one of the saddest parts of the stories: that former hero Susan is ‘no longer a friend of Narnia’ by the end of the series. Williams fairly defends this plot-line from those who claim it as evidence of Lewis’ misogyny.

More obviously, the old-fashioned dialogue of the children (‘Golly gosh’, ‘By Gum, you’re a beast’ etc) is a turn-off for modern audiences. The Disney films modified this well and used the backdrop of the Second World War at the start of each of the films to provide a more gritty context than conveyed in the books.

If you hold fast to the core of the books (see points 1-4) then stylistic changes and wise handling of aspects which are uncomfortable for today’s audience will enhance the series. All stories needs reinterpreting for a new audience.

The Great Story…

Narnia is a great story, but a key reason for its enduring popularity is because it reflects something of the Great Story of which we are all a part. As Lewis puts it himself in the conclusion of the final book:

“Now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on for ever: in which every chapter is better than the one before.”

I wish you all the best with the production of the series and I look forward to seeing the result.

Thanks,

Jon Kuhrt, Narnia fan, South London (aged 51).

PS: You might be interested in this talk I gave on The Magician’s Nephew, my favourite Narnia book.

(This article was first published on Jon Kuhrt's Grace+Truth blog in August 2023).

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Freedom of Belief

15 September 2025

5 min read

These stubborn stories from Nigeria’s killing fields are still lodged in my head

Last year’s victims are joined by many more

Belle Tindall

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A burnt out motor cycle and car stand amid charred debris in a dusty compound.

Burned vehicles after Good Friday raid on April 7, 2023, in Ngban, Benue state, Nigeria.

Justice, Development, and Peace Commission.

Last summer, I spent some time in Northern Nigeria.

I went there because terror is having its way and nobody seems to be talking about it. I said it last year, and it still seems to be the case now - the violence that is being carried inflicted is out of sight and, therefore, tragically out of mind.

While there, I met many people that had their lives violently turned upside down - their families torn apart, their villages burnt to the ground, their homes and livelihoods pulled out from underneath them, their loved ones ‘butchered’ before their eyes. The people I met were targeted, it seems, largely because of their Christian identities.

I wrote about them for Seen and Unseen this time last year, feeling the pull to memorialise their stories; to point toward them, to look their tragedy in the eye for a little longer.

Every person that I met has had a lasting impact on me, how could they not? Before I met them, the only reference point I had for such violence was apocalyptic movies. A year on, my brain still resists accepting what my ears have heard and my eyes have seen. I dwell on it all, the whole experience, often.

But there are two stories that have gotten stubbornly lodged in my mind, taking up slightly more real-estate in my thoughts. They’re the stories of two girls, one around my own age and one much younger. I’d like to re-point you to their stories now.

The first woman, she was incredibly gentle and kind, and told her story with a composure that’s hard to fathom. She was working on her land along with her husband and mother-in-law, a totally run-of-the-mill day. They were so engrossed with the task at hand, they didn’t notice that their village was being attacked by armed ‘Fulani’ militants (the majority of the violence being carried out in Northern Nigeria is at the hands of Islamic extremist groups such as Fulani militants, Boko Haram and ISWAP - Islamic State in West African Province). She looked up to find herself face-to-face with two attackers and despite their command for her to surrender to them, she ran, as did her husband and mother-in-law. While she was running, she could hear bullets flying past her head and the screams of her mother-in-law. Making it to a neighbouring village, she gathered help and eventually went back to find her husband and mother-in-law. Both of whom were stabbed and killed that day.

The Fulani militants now have control over her village, and she told us how she’s been praying that she would be able to forgive these men for what they’d done, as she is now forced to live alongside them. And so, she felt proud because she had recently been able to respond to one of the men as they greeted her.

The other story, that of a heart-wrenchingly-young girl told us how, while she sleeping – she was awoken by her father who told her that they needed to run, they were under attack. She ran, hand in hand with her father, while her mother carried her younger brother. While they were fleeing, her dad was shot and killed. Her mother pried her hand out of her father’s and buried both her and her brother in sand, instructing them to stay hidden. The next day, they found that their house, their crops, their entire village had been burnt down.

This rampant violence is not caught in a freeze-frame, it’s not last year’s story, it is still happening. Despite Nigeria having greater religious freedoms than other countries, it is still the seventh most dangerous country in the world for Christians to live, it is still the case that more Christians are killed for their faith in Nigeria than the rest of the world combined.

2025 has seen wave after wave of attacks, some of which were prompted by outrage over the testimony of Bishop Wilfred Anagbe, who spoke of the horror and terror being inflicted on Christian communities in front of the US Congress. As a result of Bishop Wilfred’s words, his Nigerian diocese was subject to mass shootings, killing forty people. So, people’s voices, their pleas for help - or even simply recognition of the violence - brings a threat to their lives.

Just weeks later, 24 members of a Methodist church were shot in the middle of the night, days later nine further people were killed while mourning those who had already been shot dead.

In the month of June alone, 218 Christians were killed, and a further 6,000 were displaced after a spate of attacks carried out on mostly Christian villages. Open Doors note that ‘dozens of Christians are said to be trapped in forests and mountain hideouts, unable to escape as the militants continue to roam through the villages’.

And in July, Pastor Emmanuel Na’allah, a Christian pastor and convert from Islam, was shot and killed during a worship service. A friend of his, Samaila Gidan Taro, was also shot, and a woman was abducted.

Again, Open Doors explains that ‘These murders and abductions are sadly increasingly common in Nigeria… large-scale attacks are the most visible. Attacks such as this one occur daily, so frequently that they do not make the headlines. It is clear that Christians are suffering a relentless onslaught, with government agencies, international bodies and official observers struggling to even document each incident.’

As I wrote last year, while we are not seeing this violence, the people of Nigeria are not seeing an end to it.

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