Review
Culture
Eating
Film & TV
Hospitality
3 min read

The hidden messages in Meghan Markle’s new Netflix show

How With Love, Meghan taps into ancient rituals

Jessica is a Formation Tutor at St Mellitus College, and completing a PhD in Pauline anthropology, 

A woman stands at a kitchen island with a chopping board on it.
Netflix.

It seems Netflix is ‘optimising its content for background viewing’. I rolled my eyes.  How depressing. Media companies know we are distracted, and they are altering the content of their shows to accommodate. It is true that “watching TV” no longer means “watching TV.” According to a 2023 YouGov study, 91 per cent of Americans check their phone at least once while watching TV. And now we are learning that TV content is being made so that viewers who have this playing on their screens in the background can actually follow along. Simple story lines, easy dialogue, you name it. I must admit, this is the context that led me to watch Meghan Markle’s new Netflix series, With Love, Meghan. While cooking dinner or tidying the house, I am prone to pop a TV show in the background. This is usually re-watching shows I know well - 24, Desperate Housewives, or Friends – but I thought I would give this new Netflix show a whirl.  

I’d seen some of the controversy about this show online and wanted to see what it was like. However, I didn’t want to give my own time to watch it, so it would be the perfect thing to partner with another task, in my case, cooking dinner. As I listened to it in the background, one thing struck me. The language sounded strangely familiar. 

I began to overhear terms familiar to me from church. Our time, Meghan told us, was “sacred,” our practices were “rituals,” we give an “offering” to those we love and care about, and we are “blessed” by their presence with us. Had I accidentally clicked on a YouTube sermon from [insert church name here]?   

The show kept drawing on language and themes deeply rooted in religion and spiritual traditions—particularly ritual. Frank Gorman once said, 

 “Ritual … becomes a means by which humans participate in the ongoing order of creation. Their existence is made meaningful as they participate in the never-ending drama of creation in ritual.”  

That’s exactly what seemed to be happening in With Love, Meghan. The show wasn’t just about hospitality or relationships but about finding meaning in the everyday through repeated, sacred actions. 

The language of sacred time, offerings, and blessings taps into something ancient and profound. In the Bible, God teaches people about His goodness through rituals—structured, embodied practices designed to help them understand who He is and who they are. The Israelites were not just learning ideas; they were instructed in these routine, regular practices that improved and enriched their lives.  

Rituals take what is ordinary and transform it into something sacred. They link our memory to the past, present, and future... 

Now in our modern world, we’ve largely lost this understanding of the power of ritual. Modern life is often fragmented and distracted—we chase peace but rarely stop long enough to experience it. Yet, in a strange way, shows like Love, Meghan seem to be reclaiming some of that language of ritual, even if unintentionally. Everything we do every day is, in some sense, a ritual. It is sacred. The way we make coffee in the morning, sit down with a friend, and even watch a show while preparing a meal are all embodied practices that shape our inner attitudes toward life. We know that our time is precious, so celebrating and savouring the everyday moments might be key in this deep pursuit of peace. We are returning to rituals.  

Rituals take what is ordinary and transform it into something sacred. They link our memory to the past, present, and future, and for Christians, re-orientate us towards God. They make us pause and participate in something bigger than ourselves. Perhaps that’s why the language in With Love, Meghan stood out so much. It wasn’t just talking about hospitality—it was using the language of sacred connection, of a theology rooted in everyday life. 

It resonated with me, even as background noise. How can you teach people ritual? You do it through action. Embodied practices—living out meaning with our bodies—have always been central to faith and human connection. Even modern media, designed for distracted consumption, can’t help but borrow from these ancient patterns. If we seek true connection, we have to return to the rituals that shape our everyday lives and, ultimately, remind us that we are a part of something much bigger than ourselves. This is what is truly sacred.  

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Review
Culture
Film & TV
Fun & play
Justice
5 min read

Boom! I love this new Superman!

Eschewing ennui, it’s a great fairy tale for the modern age
Superman talks to his dog amid the ice.
Superman and Krypto the dog.
Warner Bros.

…and that’s what makes this film so enjoyable! 

Oh, apologies for any confusion.  

No tortuously ‘relevant’ preamble from me today. I’m starting the review right in the middle of the action, because that is exactly what Superman does. No initial slog through a ‘backstory’ that everyone knows – even my wife, who has never read a comic book in her life, is familiar with who and what Superman is. The closest we get to contextualisation is a quick sequence of text: informing us that Superman landed 30 years ago (adopted by the Kent couple, and given the name Clark), began his superhero career three years ago, stopped the fictional nation of Boravia invading the equally fictional Jarhanpur three weeks ago, and three minutes ago lost a battle for the first time. 

Boom! 

Then straight into the action! 

Superman lands in the frozen tundra of the Antarctic and can barely breathe. He lets out a whistle and the next thing we know there is a tremendous snowy disturbance. Krypto the Superdog dashes into view! No explanation – just delight in the fact that there is a mischievous canine with unbelievable power. Krypto drags Superman ‘home’ to the Fortress of Solitude. There the Superman robots heal him with a concentrated dose of radiation from the Yellow Sun which gives him his power. He immediately departs to continue his bout against the nationalist supervillain ‘Hammer of Boravia’, who is secretly being controlled by the evil genius and billionaire Lex Luthor. 

The pace of this film isn’t fast…its hypersonic. It flies by at the speed of Superman himself. There isn’t any lag, any let up. Even the quieter moments, such as those meditating on Superman’s dual identities (the alien superhero Kal El/Superman and the human reporter Clark) or his burgeoning relationship with investigative journalist Lois Lane, keep the story moving. Exposition doesn’t take place through inexplicable monologues; it is always pacy conversation, which teaches us something about the characters and their relationships and their motivations. 

This is the great triumph of writer/director/producer James Gunn. After his success over at Marvel Studios, he has taken the helm of DC and started to create a universe of characters and stories that doesn’t waste time with painful ‘exploration’ and moralising. This was always the issue that held DC films (arguably featuring the more beloved and well-known characters in comic-book culture) back from matching the success of Marvel. Christopher Nolan is a genius, giving us a superb Batman trilogy, and Zac Snyder produced an underrated dark take on Superman, but neither seemed to delight in the bright, bubble-gum, kaleidoscopic colourfulness of the comic-book medium. 

Gunn refuses to make his Superman film gritty or realistic. Characters appear in all their flash and bombast and are welcomed as cheery additions. The ‘Justice Gang’ are simply there – including the always enjoyable Nathan Fillion with an arrogant smirk and an almost offensive bowl cut. Luthor’s genius allows his to create a parallel dimension…why couldn’t he!? If we can suspend our disbelief to accept a protagonist who is an alien superhero, why not a mini-universe?  

There is none of the former focus on psychological trauma and existential crisis and the sheer overwhelming ennui of being. In previous films the ethical lesson wasn’t just ‘on the nose’…it flattened your nose with a Mike Tysonesque haymaker! Here, Superman simply IS. He IS good. He IS upstanding. He IS fighting for truth and justice. He refuses to allow political and public-relations considerations to corrupt and dilute his absolute commitment to do (and to BE) what is right. One of the most dramatic scenes isn’t a grand battle, it is a quiet moment where Clark allows Lois to interview him as Superman. The more she questions the realpolitik implications of stopping an invasion, the more Clark becomes incensed. How could someone not allow themselves to save innocent life and serve justice to the oppressed against the oppressor? 

The film is such a ‘sigh of relief’ in a bloated comic-book-film market. Yes, the script is hilarious – this is Gunn’s forte. Yes, the music is sublime – both John Murphy and David Fleming’s score (with wonderful nods to the John Williams original) and Mr Gunn’s own needle-drops. The performances are excellent across the board – special mention to David Corenswet, who doesn’t quite look like Superman to me…but boy does he embody the very essence of the character, to the point where you can’t imagine anyone else having played the alien since Christopher Reeve. But its truest strength and victory is its joy in the simplicity (especially moral) of this comic-book genre. 

This is what is so refreshing about Gunn’s vision. Superman IS pure. Lex Luthor (Nicholas Hoult not missing a baldy beat) IS so prideful and vain that it has warped him into something twisted and evil and collapsing in upon his own ego. Watching the film, I was put in mind of C. S. Lewis’ writing on the nature of fairy tales: 

“For in the fairy tales, side by side with the terrible figures, we find the immemorial comforters and protectors, the radiant ones…” 

Comic-books are the great fairy tales of the modern age…why would we make them brooding deconstructions of the human condition, a la Cormac McCarthy? That isn’t their point or purpose. Lewis again: 

“Since it is so likely that they [children] will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.” 

Gunn has given us a film that isn’t just fun and fluffy, but important. In his sugary, childlike wonder and delight in the genre, he has given us a tale of good versus evil that is a true fairy tale: something gleaming and good, something radiant and right, something attractive and aspirational. Superman is a fairy tale where we can be comforted and emboldened by the moral (nay, ontological!) certainties of love and hope.  

5 stars

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