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Christmas culture

Creed

29 December 2023

5 min read

Star of wonder and beyond

From the Christmas star, humankind has been fascinated by astronomical possibilities.

Andrew Davison

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

Tarantula Nebula, by the James Webb Space Telescope.

NASA, via Wikimedia Commons.

The James Webb Space Telescope was launched on Christmas Day 2021. After hair-raising maneuvers to unfurl its tennis-court-sized mirrors, it has been sending back breathtaking images of the cosmos since July of last year.

Christmas was a good day for the launch, given its astronomical connections. ‘Glory to God in the highest heaven’, the angels sang to the shepherds, ‘and peace to his people on Earth.’ Meanwhile, the wise men were above all diligent observers of the heavens. ‘Where is the child who has been born king of the Jews?’, they ask, ‘For we observed his start at its rising, and have come to pay him homage.’

Quite what that ‘star’ might mean there is open to debate. Comets have been popular with artists. Giotto painted one, for instance, in his Adoration of the Magi in the Scrovegni Chapel in Padua. It is almost certainly Halley’s Comet, which had appeared just a few years before, in October 1301. But why would anything in the heavens be interpreted as a birth in Judea? It would probably involve something in a constellation associated with the nation of the Hebrews. Pisces seems to be favoured, for some reason. A nova of some kind is one possibility: what would look like a temporary new star because, in fact, a previously invisible star was undergoing a spectacular death. Chinese records suggest a nova in 5 BC, which fits the likely date for for Christ’s birth of 7–2 BC.

The problem with both comets and novae is that they were more likely seen as harbingers of doom than good news. The better candidate for suggesting something joyful is a planetary conjunction, and there would have been a rather spectacular conjunction of Jupiter, Saturn, and Mars at the right time. None of that, admittedly, explains what it means for the star then to have led the wise men. Coming up against that challenge, we might think that looking into the astronomical detail is the wrong way to approach the story. Nonetheless, Matthew had something in mind when he wrote about a start in his gospel, and it’s worthwhile to ask what that might have been.

It might be fitting for God to deal with other species as intimately as God has dealt with us, so that they might see ‘God made visible’ in their own nature, as we see God made visible in ours.

More recently, the Christmas story has intersected with astronomy in questions about how to think about Christian theology now that we are aware quite how big the universe is, especially if it may contain a great deal of other life. We don’t know whether that’s true, of course, but given we now know that planets common around stars, and there are billions of billions of stars in the universe, the probabilities seem to tilt towards other life, at least as I see it.

Suggestions surfaces from time to time that the world’s religions have arrived late to the party, when it comes to thinking about life beyond Earth. The astronomer and broadcaster Carl Sagan made that claim, for instance, in his best-selling book Pale Blue Dot. In fact, the earliest discussions of life beyond Earth I know about from Christian writers come from the mid-fifteenth century (and they stretch even further back in Judaism and Islam, to give two other examples). Christian writers have written on the subject ever since. If few gave us more than a paragraph here or a page there, that’s usually because the prospect of other life did not worry them enough to warrant more. They noted the prospect cheerfully, and moved on.

Until the twentieth century, the prospect of parallel Nativities on other planets was rarely in view. In a sense, it didn’t need to be. It’s a consistent Christian position to say that God joined his life to all creation in joining it to one species of rational animal on Earth, just as God joined his life to all humanity in being born in a stable, in a wayside town, in a backwater province of the Roman Empire.

One erudite early exploration of multiple Incarnations comes in a poem from the 1920s by the Roman Catholic poet Alice Meynell, entitled ‘Christ in the Universe’. More recently, Meynell’s topic has become perhaps the central theme in thinking theologically about life beyond Earth. My own book (Astrobiology and Christian Doctrine, 2023) looks at the prospect of life beyond Earth from the perspective of all of central topics in Christian doctrine (creation, sin, redemption, revelation, the Trinity, and so on), but the largest section is on Christmas and possible parallels. I am sympathetic to the idea that God would also unite himself to another natures, alongside the human nature he took up in Christ: not because I think that would be necessary, but because it might be fitting. It might be fitting for God to deal with other species as intimately as God has dealt with us, so that they might see ‘God made visible’ in their own nature, as we see God made visible in ours.

Hiding in plain sight in the Nativity stories is another key to Christian thinking about life beyond, namely the angels. It’s not that I think that angels are aliens, or that alien life is angelic. In fact, being a disciple of St Thomas Aquinas, I’m inclined to view angels as entirely immaterial, and so very much not examples of biological life. But angels are useful for thinking about other biological life beyond Earth nonetheless, because of what they mean for the Christian imagination. The angels show that there’s always been space in that imagination for rational creatures other than human beings. They show that Christianity has never imagined that we’re the sole object of God’s love, or even the most glorious of species.

The Christmas story has its cosmic elements: the star, glory in the highest heavens, and the angels, reminding us that wonderful though humanity is, it has no monopoly on rational life. My hunch, as much as my hunch matters, is that if there is other life then they too may see God face-to-face in their own Incarnation. Even if we find evidence of life beyond Earth, however, it’s not going give us much detail. The balance of gases in the atmosphere of a planet around another star might indicate life, but not much else about it. The prospects for interplanetary comparative religion are far off indeed. Alice Meynell had the right idea, when she recognised that one of the joys of the life of the world to come will be learning the stories of God’s dealings elsewhere:

But in the eternities,

Doubtless we shall compare together, hear

A million alien Gospels, in what guise

He trod the Pleiades, the Lyre, the Bear.

O, be prepared, my soul!

To read the inconceivable, to scan

The myriad forms of God those stars unroll

When, in our turn, we show to them a Man.

Alice Meynell

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.