Article

Comment

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).

Article

Comment

Feminism

Migration

Trauma

10 October 2025

6 min read

“Defending our girls” is less about safety, more about scapegoating

The men who finally care about violence against women — just in time to blame immigrants for it

Belle Tindall

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

A protestor holds a blue smoke canister towards the camera lens.

An asylum hotel protester, Epping.

Something has profoundly shifted in the way we are speaking about male violence against women and girls. Or perhaps I should say, the shift is precisely that we are speaking about male violence against women and girls.

Wait.

Would you allow me to slightly amend that statement once more?

I say ‘we’ are talking about it, what I really mean, if I may be so blunt, is ‘men’. Men are talking about male violence against women and girls.

Therein lies the shift.

Women have been speaking about this epidemic of violence for years, they have been having endless conversations about the complexities of their own sense of sexual safety, relentlessly sounding the alarm. And, all too often, being ignored. It has so commonly felt as though women could scream about this topic at the top of their lungs and be met with an exasperated eyeroll. Perhaps that’s ungenerous of me, maybe the lack of political interest has been more about despondence than disbelief. Either way, it has continually appeared as though male violence against women and girls has sat, slumped and hopeless, at the bottom of the political agenda.

Until now, that is. Now, it is the crux of many campaigns, sitting right at the forefront of multiple political conversations. One conversation, in particular.

Earlier this year, Conservative MP, Robert Jenrick, wrote an article in which he stated that he fears for his daughters’ safety, not wanting them to live near ‘men from backward countries who broke into Britain illegally and about whom you know next to nothing’. Political party Reform UK has a concern for women’s safety sitting at the forefront of their campaigns; again, Nigel Farage (leader of Reform UK) has continually suggested that it is the immigrant communities in the UK who are posing the threat. Signs that read ‘defend our girls’ have been ever-present at many of the anti-immigration protests that have happened throughout the summer months, the same phrase was chanted by those taking part in the ‘Unite The Kingdom’ march, organised by far-right activist, Tommy Robinson.

So, we have a direct line being drawn between immigration and the epidemic levels of violence against women and girls. A common enemy is a powerful thing, isn’t it? A uniting thing? An energising thing, even? This line from A to B (‘A’ being the violence and ‘B’ being people who have come to this country from another) is one that I cannot draw myself. I find no biblical nor sociological justification for doing such. In fact, I’m hit with quite the opposite.

I’ll get biblical, but shall we start with the sociological?

Violence against women – be that physical, verbal, sexual, financial, or any other nuanced kind – is a tragic reality here in the UK, as well as globally. We know this and there can be no denying it.

One in three women will experience domestic abuse.

A woman is murdered by a partner/ex-partner every four days.

One in two rapes against women are carried out by a partner/ex-partner.

More than 90 per cent of perpetrators of rape and/or sexual assault are known to their victims.

One in three adult survivors of rape experience it in their own home.

These facts are heartbreaking, stomach-churning, worthy of our indignation and fury. They do not, however, imply that the dominant threat to women are strangers who have come to UK from other countries. Such claims, while being spoken of loudly and continually, are unfounded.

There’s almost an ‘if-only-ness’ about such claims, isn’t there? And so, if I lower my hackles, I can sympathise with wanting such claims to be true, albeit momentarily - if only we could solve male violence against women and girls so easily.

If only it were so neat.

Instead, we have to sit in the utterly overwhelming, and often debilitating, reality that violence is being carried out against women in every age group, every socioeconomic group (although it must be acknowledged that women who can’t access public funds, such as welfare support or housing assistance, are three times more likely to experience violence), every ethnic group, and in every corner of the country. As a woman, if a man is shouting at me while I’m alone – it makes no difference what language he’s shouting at me in, tragically, I’ve learnt to be scared regardless.

The notion that it is an imported problem that can therefore be a deported problem, is wrong. And, dare I say it, undergirded by racism.

It’s perhaps also worth mentioning that there is footage from the recently held ‘Unite the Kingdom’ march, during which the mandate to ‘defend our girls’ was continually chanted, of men chasing female counter-protesters down the street. While a call to defend women was chanted one minute, a call for women to expose themselves was chanted the next. Furthermore, it has been reported that 40 per cent of those arrested during the 2024 anti-immigration protests had previously been reported to the police for domestic abuse. In my home city of Bristol, it was two-thirds of those arrested.

So, while women’s safety seems to be at the forefront of political and social movements right now, I can’t help but be deeply suspicious of the intentions behind it. It seems to me that the same people who have spent the last five-or-so years responding to women’s pleas for help with an irritated ‘not all men’ chant, are now more than happy to point at a marginalised group of people and declare ‘but probably all those men’.

But this isn’t simply sociological, nor is it purely political. For me, there are theological reasons why I can’t help but wince at what is happening.

I simply don’t think the Bible gives us the option of pitting one marginalised group against another; it’s clear on the fact de-humanisation can never be a tool in our societal toolbox. In fact, if we’re going to get biblical with it, vulnerable women and ‘migrants’/’foreigners’/’strangers’/’sojourners’ – they’re always on the same list.

‘He defends the cause of the fatherless and the widow, and loves the foreigner residing among you, giving them food and clothing’ – that’s the book of Deuteronomy. And this – ‘Do not oppress the widow or the fatherless, the foreigner or the poor. Do not plot evil against each other.’ – is the book of Zechariah.

I could go on.

We have a shared humanity and, therefore, a sacred responsibility to protect both the women and girls who are facing unspeakable injustice, and those who are being unfairly scapegoated for it. It’s an uncomfortable tension, I can’t deny it. It refutes quick-fixes, it raises its eyebrows at cheap blame, and it absolves any comforting notion that the problem flows from elsewhere - Christianity simply does not offer such a luxury. Compassion cannot be finite, love – as Graham Tomlin has argued – cannot be a limited commodity.

And this is precisely why such things being increasingly carried out in the name of Christianity makes no sense to me. Surely, this cannot be espoused in the name of the Jesus who destabilises the boundaries between ‘Our Sort of People' and 'Those Others Over There?’ (to quote Francis Spufford)

We cannot be fooled, fear and distrust on the basis of someone being different from ourselves is not – I repeat, not - a Christian value. One vulnerable group’s pain being unjustly weaponised against another vulnerable group has no hint of Jesus about it. Plus, doing so knowingly compromises the care we can offer to both groups.

I’m getting a little weary of being told that, as a woman, this hate will ensure my safety. Both sociologically and biblically, I’ve found the grounds to call time on such a claim.

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