Essay

Church and state

Creed

Politics

20 February 2025

7 min read

How to test the religious claims made on Trump

An old Puritan offers a way to question the assertions.

Anthony Baker

Anthony is a theology professor at Seminary of the Southwest in Austin, Texas.

A montage shows a bishop, a preacher and a president being looked down upon by a puritan.

Jonathan Edwards considers.

Christian theological language is a fairly constant garnish to the dish that is American political theater. In recent weeks, however, with the rhetoric responding to the initiation of Donald Trump's second term, such language has arguably shifted into a substantial side dish, if not the main course.

At the Inauguration, Rev. Franklin Graham prayed, "Father, when Donald Trump’s enemies thought he was down and out, you and you alone saved his life and raised him up with strength and power by your mighty hand." He compared the new President to Moses and Samuel of the Hebrew Scriptures, and implied that the years of the Biden administration were akin to Israel's years of enslavement in Egypt.

The President himself made a bold claim of divine intervention in Inaugural address:

"I was saved by God to make America great again."

Christians, however, are far from united in this interpretation. Pope Francis suggested prior to the election that American voters were facing a choice between two evils. He has since called Trump's mass deportation plans "a disgrace." The Episcopal Bishop of Washington went viral just after the Inauguration when she called on the newly elected President to amend his rhetoric around sexuality and immigration in the name of mercy: "Our God teaches us that we are to be merciful to the stranger, for we were once strangers in this land."

The discipline of theology can seem like an exercise in evaluating faith language against the grid of personal conviction. Rev. Graham has his theology, Pope Francis his, Bishop Budde hers. But as any true student of theology knows, the tradition is rich with critical tools that go far beyond private taste or political orientation.

Good theology acts as a grammar for the language of Christians. Think of how German or French has rules that keep our subjects and objects aligned and that connect propositions and antecedents. Sentence-diagramming, that dreaded rite of passage for the language student, shows those connections visually on a chalkboard. Cumbersome as they are, such structures allow us to make the most sense possible when we go to put thoughts into words.

So too in the language of faith traditions: we can fail to make sense by ignoring the long evolution of "grammar" that is that tradition's critical reflection on its own faith.

What forms and structures might allow us to evaluate claims about whether or not God's hand is at work in the election and vision of a new U.S. President?

Divine intervention never shows up "full strength," given that it only ever arrives through the words and acts of human beings.

In the eighteenth century, American Puritan theologian Jonathan Edwards weighed in on arguments about whether God was at work in the movement of revivals that we have since taken to calling the First Great Awakening. His careful evaluation of arguments and claims for and against the revivals could serve as a model for evaluating the political theology of our day.

Edwards is most famous for his sermon "Sinners in the Hands of an Angry God," a text that my high school English teacher justly called a stunning piece of rhetoric and an alarming bit of theology. Less famous, though, are the writings that explore the true center of his theological vision. For Edwards, the world was created out of the bounty of God's own character. Call it a theological aesthetic: God delights in the beauty of his own goodness and truth, and so makes a world whose character is, at its best, a reflection of of a good and beautiful God.

This aesthetic runs like a soft bass line through his short treatise The Distinguishing Marks of a Work of the Spirit of God. This work opens with a passage from the first Epistle of John. The writer says that Christians should not believe every spirit, but rather "try the spirits whether they are of God." Edwards is surprised to find that this invitation is not one that his contemporary theological evaluators have taken up. There's his aesthetic running in the background: If God made us to be Godlike, then we ought to be vigilant in our attention to the energies sweeping through the world, and certainly "try them" before we decide to trust or mistrust them as the presence of God's own Spirit.

When he addresses those who deny that the hand of God is at work the Awakening, he takes seriously their criticism that some preachers are excessive, or harmful, or even riddled with errors in their sermons. Edwards doesn't disagree or defend such preachers, but rather reminds the reader that one must consider the distance between the eternally holy and righteous God and the temporally limited and fallible creature. God made us to be Godlike, but that likeness is a calling, not a presumption. For this reason, "If some fall away into gross errors or scandalous practices, it is no argument that the work in general is not the work of the Spirit of God." In fact, "if we look into church history, we shall find no instance of a great revival of religion but what has been attended with many such things." In effect, humans are imperfect receptors of divine transmission. Acknowledgement of our imperfection is not a denial of divine activity. This is, for Edwards, as for the whole of the theological tradition, a key principle of good theological grammar. Divine intervention never shows up "full strength," given that it only ever arrives through the words and acts of human beings.

The "proof" of God's hand, theologically speaking, is not in the strength of one's conviction or in the number of people who hold it.

When he turns from what might negate the claim of divine action to what might affirm it, Edwards says, first of all, that a growing affection for Christian teachings is an integral part of such evidence. "The devil has the most bitter and implacable enmity" against the whole story of the virgin birth and the redemption wrought by Jesus' death and resurrection. If people begin falling in love with the beauty of the story, he suggests, it is a pretty solid indicator that God is at work.

But this alone is not sufficient evidence, if for no other reason, Edwards says, than that there are false prophets who mislead even as they speak in ways that sound pious. For this reason, a love of truth-telling supplies a touchstone for our theological grammar. "If we see that a spirit operates as a spirit of truth, leadings persons to truth, convincing them of those things that are true, we may safely determine it is a right and true spirit." For Edwards, if I speak out loudly in favor of the divinity of Christ while lying about my own actions or intentions, you should not trust that I am a faithful witness to the work of the Holy Spirit.

But the most important of all marks of the work of the Spirit of God is neither of these; or perhaps, it is a mark that lies within and shapes all other evidences. Edwards says that "humble love" of God and fellow humans is the "highest evidence of a true and divine Spirit." The adjective here is important: a love that is self-aggrandizing is not the love that shares in God's own character.

Here again the aesthetic sounds the bass line: God's love changes us like a beautiful memory or a lovely person does. We want to belong there, we want to be like that. If the energy, the spirit, sweeping through a culture is not that sort of energy, then it's likely not the work of the lovingly humble God.

Edwards ends his own treatise by grading the revivals on his grammatical grid, and determining that it is, in fact, the work of God. For our current moment in U.S. society, the evidence is not yet in. Will the Trump administration cause an increase in affection for Christian teachings? Will it explode in an epidemic of truth-telling and a cultural outrage at falsehood? Will the policies and practices of the next four years demonstrate humble love? If so, Christians will have good reason to attest that the interpretations of leaders like Reverend Graham are accurate.

The "proof" of God's hand, theologically speaking, is not in the strength of one's conviction or in the number of people who hold it. It is rather in the humility, Christian devotion, and the divine and neighborly love that grows from the events in question.

On this note, Bishop Budde's admonition invites a reading that not far from the theological grammar that Edwards supplies. "You have felt the providential hand of a loving God," she reminded the President. "In the name of our God, I ask you to have mercy upon the people in our country who are scared now." If it was in fact God's mercy that spared you, it was so that you could be merciful. The proof of providence will be in the pudding of practice, Mr. Trump.

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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.