Article
Belief
Creed
Politics
7 min read

If a King can pray with a Pope, there's hope for MAGA and woke to talk

Once bitter enemies found peace through prayer - offering a quiet challenge to today’s culture warriors

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

The Pope and King Charles walk together from the Sistine Chapel
Royal.uk

Last week, King Charles met the Pope.  

There was a part of me that wondered what Martin Luther, Thomas Cranmer, and even the young Ian Paisley would have of made it. Not much I imagine. The days of sharp theological barbs thrown between Protestants and Catholics over the mass, purgatory, the place of Mary, praying to the saints and so on are largely over. I imagine they had a cup of tea, admired Michaelangelo’s painting in the Sistine chapel and had a chat, but the main thing they did was to pray together - the first time a British monarch had met to pray with a Pope since the Reformation.  

So this was quite a big deal. Prayer carries much more significance than tea. But why did it matter so much?  

To make sense of it, you have to remember the history.  

In the aftermath of the English church’s break from Rome under Henry VIII, later consolidated under Elizabeth I, one of the most influential books that emerged from the English Reformation was Foxe’s Book of Martyrs, originally published in 1563. Alongside the ubiquitous King James Bibles, copies were to be found in English homes up and down the country for centuries afterwards. The book was a grisly catalogue of Christian persecution down the ages, and a thinly veiled side-swipe at the author’s main target - the Roman Catholic church, or “popery, which brought innovations into the church and overspread the Christian world with darkness and superstition.” Back then, that was how most British people saw the papacy.  

In 1605, a plot led by a group of English Roman Catholics to kill King James I of England (and VI of Scotland) and to blow up the Houses of Parliament was rumbled – the infamous Gunpowder Plot. For centuries afterwards on the anniversary of the conspiracy (until Health & Safety and modern squeamishness toned it down) the English lit bonfires, launched fireworks, and burnt effigies of the Catholic plotter Guy Fawkes to celebrate the deliverance of the nation from papal tyranny. At the time - and partly as a result of that event - Catholics were feared in England much as militant Islam is today in parts of the west – as a shadowy force infiltrating the nation from other European countries (mainly France and Ireland in this case), intent on changing the religion of the country, and imposing arbitrary and tyrannical rule on the population of Britain.  

Later in the same century, the looming prospect of a Catholic monarch put Britain into a spin. Charles II had been restored to the throne in 1660 after his father’s execution during the Civil Wars. Charles’ own Protestant credentials were always shaky – a fear that was confirmed by his deathbed conversion to Catholicism in 1685, but at least during his lifetime he remained a Protestant Anglican. The real problem was the heir – Charles’ younger brother James, the rakish Duke of York who was most definitely a Catholic. The same fears of papal tyranny and arbitrary rule, taking away the precious freedoms of the British people were the talk of the coffee houses and broadsheets of the 1670s and 80s.   

All the more remarkable then, that relationships between Anglicans and Roman Catholics have develop to such an extent that Anglicans (alongside other churches) were guests of honour at the late pope’s funeral and the inaugural mass of the new pope - and a King prays with a Pope.  

So why have things changed so much?  

Part of the answer is that times have changed. Europe is less obviously Christian than it was back then. The Christian churches have realised they don’t have the luxury of fighting over such matters. With Christian theology becoming less of a ‘public truth’ that held nations together (much as notions of freedom and democracy do for us today) arguments over it became less fraught and charged.  

Another reason is the lengthy conversations that have taken place between churches in the ecumenical movement throughout the last century that have carefully been able to unpick the disagreements, clarifying what was and wasn’t at stake in the fights between Lutherans, Catholics, Anglicans, Orthodox and others. These conversations haven’t solved all the issues. Different Christian denominations still disagree on a lot, especially today on issues like human sexuality and the like, but over time, they have at least brought clarity and a certain harmony to some of the historic disagreements. Anglicans still convert to Catholicism, and Catholics become Anglicans (or Orthodox or Pentecostals). The King and the Archbishop of York could not take Holy Communion with the Pope, but they could pray. I know from personal experience the depths of friendship that come when you recognise a brother or a sister in a Christian that you disagree with but in whom you can still recognise an essential commonality. 

Another key part of the answer is that the Roman Catholic church has changed. Last year for example, the Vatican department that oversees relationships with other churches issued a study document called ‘The Bishop of Rome’. It was part of an ongoing conversation between the Roman Catholic Church and other world churches on the role of the Pope in the modern world. It talked about the Papacy as having a ‘primacy of service’, its authority linked not to the triumphant but the suffering Christ, of how the Pope offered a kind of ‘personal’ kind of leadership, Orthodox churches a ‘collegial’ form (led by groups of bishops) and the Protestant churches a form that stressed the importance of the whole community.  

In other words, here was the Vatican asking other churches how the Papacy can be a help and support to Christians around the world. Back in the nineteenth century, in the first Vatican Council of 1869, the language was very different. The papacy was there by ‘divine right’, essential for the church, implying that other churches really ought to come back into the fold of the Church of Rome. The Roman Catholic church now seems to take a humbler, more generous stance which makes it possible for a King to pray with a Pope again.  

It's a heartwarming story. We constantly lament today the polarised, fragmented and angry nature of our politics and our cultural debate. The ecumenical movement of the Christian churches over the last hundred years may not be the sexiest development in recent cultural history. It involved long and painstaking conversations, the building of friendships and relationships across suspicion, a willingness to see the good in the other even when you could not agree. Yet this combination of time, patient conversation and humility has yielded fruit. 

In the seventeenth century, British Protestants saw Catholics as the deadly enemy seeing to undermine everything they hold dear - pretty much as some people do today see Muslims, or as progressives see conservatives or vice versa. Does this story hold out any hope of finding healthier ways to live together across our religious and political divides? Maybe. It's different of course because Catholics and Anglicans share the same basic faith, they recite the same Creed, they read (almost) the same Bible, they worship the same Jesus. With Islam we're talking about a different faith altogether. The ‘woke’ and the ‘MAGA’ people don’t seem to share much at all. 

But yet we do share a common humanity. And with patience, conversation, a willingness to look for the good in the other, some form of peaceful co-existence, with freedom to debate, or even to change religion might become possible.  

For that we can hope. And like the King and the Pope, pray.  

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Review
Culture
Film & TV
Hospitality
Romance
4 min read

From wheatfield to vineyard, can an ancient love story survive a replanting?

Ruth & Boaz finds new soil in rural Tennessee but struggles to grow

Giles is a writer and creative who hosts the God in Film podcast.

A couple hold each others hands as they face each other.
Tyler Lepley and Serayah.

Ruth & Boaz is a contemporary version of the most memorable love story in the Bible. The film tells the story of Ruth, a young woman who escapes the Atlanta music scene to care for an elderly widowed woman. Not only does Ruth gain the mother she never had, she also finds the love of her life in the process. 

The story of Ruth and Boaz is a straight up love story, and it serves as a much-needed respite from the biblical levels of violence in the books that precede and follow it in the Bible. So a modern update of the Ruth and Boaz story serves as good material for a heartfelt, sincere romance.

As part of Atlanta pop duo 404, Ruth Moabley (Serayah) is a talented singer who, after the death of her boyfriend and his father, is desperate to escape her menacing manager.  Ruth makes the impulsive decision to join her late boyfriend's mother Naomi, (Phylicia Rashad) as they both leave Atlanta for a small town in Tennessee to start over from scratch. The only job she can find involves labouring at a local vineyard, leading her to owner Bo "Boaz" Azra, (Tyler Lepley) who falls for Ruth the moment he lays eyes on her. Ruth holds tight to her faith and slowly begins to accept love, but her past is soon to catch up with her.

One of the joys of adapting a Bible story is often the characterisation. Phylicia Rashad’s Naomi is a complex, contradictory figure whose manifestations of grief are not always that sympathetic, pushing away all but the most insistent of helpers like Ruth. As the titular character, we spend a lot of time with Serayah’s Ruth. Making her a singer helps to flesh out the character to an extent, but the scenes where her individuality gets to shine are notable by their infrequency.  

Tyler Lepley’s turn as Bo Azra is perfectly serviceable. He’s essentially an idealised, handsome and muscled 40-year-old. Bo has a wealth of backstory; we’re told he served two tours in Afghanistan, then worked on Wall Street, and finally returned to his family business of the Azra Vineyard & Winery. Despite this, none of it really shows up in his characterisation. He spends his time being a generous boss, and an all-round basic good guy. All of which is great in real-life but can be a little staid in fiction. There’s very little about him to intrigue us, although questions have to be asked about how, if he’s so dedicated to making his business succeed, he managed to find the time to work on a truly magnificent set of abs. 

In a departure from the original Bible story, Ruth begins as a casual worker on Boaz’s vineyard. This is a reasonable change, as the practice of leaving grain after the harvest for widows and orphans to collect just doesn’t fit in a modern context. But in a post #MeToo world, this does create a power imbalance. They attempt to address this power imbalance of employer and employee when Ruth refuses to let Boaz buy her a drink. However, Ruth’s resistance quickly recedes when Boaz introduces her to Rn’B legend, Babyface. In this world, if you want to date one of your employees, all you have to do is introduce her to a Grammy-winning super producer to break down her inhibitions.

All of these shortcomings suggest that the script needed a few more passes, and the saccharine voiceover feels like it’s trying to make up for that. Credibility at times takes a back seat to the gloss of the high production value as almost every other shot looks like it’s promoting a tourist destination. There are moments where it feels like the story is contorting itself in order to be a vehicle for Serayah’s singing talents; which, to be fair, are considerable. Nonetheless, a lot of the tension in the plot hinges on characters not telling each other incredibly important details because of convoluted reasons. It’s a trope that feels a little bit tired. On top of that, the pacing drags until it remembers it has to have a dramatic resolution, which it awkwardly rushes, making the ending feel somewhat unfulfilling.

Ultimately, Ruth & Boaz feels like a romance film made by committee, a Hallmark film with added Bible references and RnB cameos. One could argue that it shines a spotlight on African-American communities in rural America, but the brisk run-time prevents it from revealing anything new, and the light touch characterisation means we don’t really get anything original.

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief