Column
Culture
Film & TV
Weirdness
Zombies
7 min read

Why do films portray Christians as crazy?

Exploring why films often portray the god-fearing as ‘always so god-damn weird’, psychologist Roger Bretherton recalls a first divine experience.
A crazed-looking man walks away from a burning backdrop.
Scott Shepard plays the crazed preacher in The Last of Us.
HBO.

We knew we were in trouble when he started quoting the Bible. If there is one rule we should all follow in a zombie apocalypse it is not to trust the isolated community of believers huddled around a Bible-quoting preacher. You know the plotline. The one that never occurs in Star Trek: the crew of the USS Enterprise land on a paradise-like planet only to discover that everything is exactly as it seems. No. The rules of genre television must be upheld. If it seems too good to be true, it probably is. 

This was the strong suspicion my eldest child and I immediately leapt to while watching season one, episode eight of HBO’s The Last of Us. If you haven’t seen it, it’s a zombie apocalypse drama, a bit like The Walking Dead, but with more giraffes and fewer zombies. Is it a virus? Is it radiation? No, it is a fungus that has zombified the masses. Starting with a few isolated infections here and there it rapidly mushroomed (I guess) to turn the placid citizens of the world into manic flesh-eaters. All I’m saying is keep applying the anti-fungal toenail cream, it may be the only thing standing between us and the collapse of civilisation as we know it.  

So, when episode eight opened with a previously unknown character quoting the Bible to a fearful flock hiding in a diner, we knew things weren’t going to turn out well. The signs were all there. He was almost definitely a paedophile, possibly a murderer, and very likely a cannibal. As it turned out we’d hit a perfect straight: three for three. He was all of them. I probably should have issued a spoiler warning for that one, but to be honest if you didn’t see it coming The Last of Us probably isn’t for you. You’d probably be happier watching something more sedate. Silent Witness anyone?  

Needless to say, the episode provoked no small amount of theological commentary in our household, mainly querying why it is that anyone exhibiting even a modicum of Christian belief in shows like this, almost always turns out to be completely unhinged. Why do the righteous always have something wrong with them? Why are the god-fearing always so god-damn weird?  

Pray and take the pills 

Just to be clear, I’m not a murderer, nor a paedophile, nor a cannibal (and I have no plans), but somehow the prejudice that Christians must be crazy has come to influence how I view my own spiritual history. I have inadvertently imbibed the simple naturalistic logic that if I am a Christian then there is something wrong with me. Some part of me shakes hands with Freud and retrospectively attributes my conversion to neurosis, a coping strategy, a crutch. The assumption that the only reason I would believe something so unusual, so out of step with the people I spend most of my time with, is that I am weird. Quietly, without realising it that is how I have come to view it - I need God because I am weak. 

Of course, religion can and often is used as a coping strategy. Leading psychologists of religion, like Kenneth Pargament, have made entire careers out of studying this phenomenon. For several decades, he and his collaborators have demonstrated pretty conclusively that people use religion and spirituality as potent sources of coping with the pain of life. From this perspective, religious conversion can be viewed as a transformation of significance. When the things we previously relied on to give us a sense of meaning and stability fail us, when our adjustment to life falls apart and cannot be put back together, we give up trying to conserve what was previously meaningful and instead take a transformative leap toward a new view of what matters to us. When the going gets tough, the tough get going. When the going gets too tough, some people turn to Jesus.  

But there are many ways we can use religion to cope, and over the years Pargament and his collaborators have identified a few of them. Some people defer everything to God, they cope by thinking God will do everything for them, they plead for Him to intervene. Others are self-reliant, they may believe in God, but they don’t expect much from Him; for them prayer is more like therapeutic meditation than anything medically effective. Others cope in a collaborative way. They don’t leave it all to God, nor do they think everything centres on them. They take responsibility for their lives, but view God as a companion, a collaborator, a conversation partner through all the vicissitudes of life.  

It probably comes as no surprise that in studies of religious people dealing with chronic illness, these styles of coping significantly predict prognosis over time. There are many ways it can help us, and some of them are more admirable and effective than others. Those who leave it all to God usually do worse, those who think it’s all down to them do better, and those who pray and take the pills do best. Coping with a painful and bewildering world is undoubtedly one of the benefits of religious belief. It’s one of the things it does for us, but it is not what religion is at core. It may be a function of belief but not its essence.  

That first intimation of divine presence... It was the teaser trailer of a movie I was yet to see. A tiny taster from an infinite menu. 

As a twelve-year old boy, lurking at the back of an old Methodist church, waiting in silence for the possibility of something sacred to be unconcealed, I was not the kind of child anyone at school would ever admire: lonely, bullied, ignored. Relegated to the corner of the playground reserved for the outcasts and untouchables, the overly sensitive gay kid, the boorish tractor enthusiast, and the Dungeons and Dragons players. When I revisit the moment of my first truly transcendent and mystical experience of God, it’s tempting to write it off as an imaginative invention designed to anaesthetise the pain of social exclusion. I needed it to be true, so I made it up.  

Yet there is more to it than that. That first intimation of divine presence was the beginning of a lifelong quest to experience more. It was the teaser trailer of a movie I was yet to see. A tiny taster from an infinite menu. And in the years that followed I pursued it. To begin with, that strange sense of presence was elusive. I couldn’t generate it under my own steam but ran across it every few months, in a small group, a church service, a prayer meeting, a piece of music. Over time the frequency increased, as I learned patterns of prayer and spiritual practice. Eventually, decades later, it stabilised into an almost daily occurrence. I discovered the western mystical tradition, a historical lineage that made sense of what I was sensing, and to which I could belong. I made myself at home with Augustine of Hippo, Julian of Norwich, Ignatius of Loyola, Teresa of Avila, John of the Cross, Thomas Merton. My new extended family was large and varied. They became my friends and spiritual guides. I had a history. 

When I think of the creatives I know, the artists, writers, actors, and musicians I have spent time with, I notice that for many of them their art is a response to the tragedy of life. But I rarely judge their work on the loneliness and pain that drives their compulsion to create. All too often it is the aching that lingers just under the surface of their work that makes it poignant and affecting. It is not just the beauty of what they create that moves me to tears, it’s the heartbreak out of which it is composed.  

My spiritual journey seems somewhat similar, a creative enterprise launched and sustained by a new insight into the nature of the world. Faith is more like a new way of seeing, than a new set of propositions to believe. If I’d been happy and fitted seamlessly into the fabric of social life, I doubt I’d have been open to the experience or able to recognise it when it occurred. But just as we might hesitate to reduce an artist’s work to little more than psychological self-help, I find myself increasingly reluctant to view my spiritual history as just an expression of my own neurosis. There is another way to tell the story, one that emphasises not so much the problems that drove me to God, but the presence that drew me to Him. There is more to the story than my own neediness and, in the final analysis, when the zombie apocalypse comes, at least I have retained sufficient sanity to avoid the guy with the Bible. 

Article
Attention
Culture
Fashion
5 min read

Here’s to the Met Gala, and to those who weren’t there

We’re teaching ourselves that if we’re void of attention, we’re void of significance.

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

A celebrity wears a highly stylised cuboid suit to the Met Gala.
Janelle Monáe directs her attention.
Instagram.com/janellemonae/

The Met Gala happened on Monday; a menu of celebrities was offered up to us, each one posing on the steps of the Metropolitan Museum of Art in the heart of New York City, decorated from head-to-toe, like an army of art exhibitions that had come to life. 

What happens as soon as these finely clad celebrities make their way into the museum? Nobody outside of the room knows. And, Anna Wintour, the brains behind the entire operation, goes to infamous lengths to keep it that way. But everything that happens in the moments before they walk through those iconic doors is a carefully curated display, designed for our eyes to feast on. They’re counting on us to look their way, to stare, to soak it all in.  

It poses the question: if a Met Gala happens and nobody is around to see it, does it really take place? I think I can hazard a guess at what Anna Wintour’s answer would be.  

Our attention is the currency of the entire event; every celebrity is vying for it. And it’s not enough to have a little share of it, the prize is to have the most. At the very least, you need to earn enough attention to ensure that your presence at the event is memorialised. It’s interesting, it’s like an incredibly opulent version of teenagers writing that ‘so and so was here’ on all their school desks. The craving seems to be the same, we want our presence in a specific time and place to be noted and remembered. The school pupil’s tool of choice is a marker pen; the celebrities deploy their outfits.  

Can’t walk in the outfit? Doesn’t matter.  

Can’t sit? Doesn’t matter.  

Can’t breathe? Doesn’t matter.  

The clothes aren’t made to be in, they’re made to be seen in - there’s a difference. 

I sort of like the Met Gala, you know. I’m drawn in by how otherworldly it feels, how its opulence is not quite off-putting enough for us to ignore it. Publicly, we’ll roll our eyes. Privately, though, we’ll flick through who Vogue thinks looked the best (and – more importantly - the worst). The whole event knows it’s ridiculous and, in return, we seem to be pretty forgiving of it. It’s silly – they know it, we know it. The dynamic works. 

Success is being seen. It’s being documented, being observed, being celebrated. 

This year, I noticed a slight slant to the reporting of the event. My social media feeds seemed to be brimming with two lists they wanted me to pour over: those who were there and, more notably, those who were not there.  

I’ve been so struck with how odd this is. Again and again, I was being offered names of celebrities who were not in attendance. Publications and influencers were lamenting the absence of Emma Stone, sneering at the Blake Lively shaped gap in the attendee-list, and insisting that poor old Meghan Markle must have been barred from the proceedings.  

In truth, we have no idea why any given person was or was not at this year’s Gala. The speculation is a waste of time – but it does act as a doorway into understanding our perception of success. 

I think it can be boiled down to this: success is being seen. 

It’s being documented, being observed, being celebrated. 

Success is being there. And so, it’s unfathomable to us that anyone would want to be anywhere other than where the eyes of the world are directed. Our value diminishes the longer we dwell in obscurity, anonymity is nothing short of self-sabotage. That’s what we’re subliminally telling each other.  

I know that this is what we think because it’s what I think. I find the evidence of my hypothesis within myself.  

A need to be seen is written into the rock of my being. In 2021, I felt as though I had been snapped in half – my fear of obscurity exposed - by Michaela Coel’s Emmys acceptance speech. She had just won a prize for I May Destroy You, a limited series that she both wrote and starred in. Clinging shakily to her piece of paper, Michaela implores anyone listening to ‘disappear’.  

She says,  

‘In a world that entices us to browse through the lives of others to help us better determine how we feel about ourselves, and to in turn feel the need to be constantly visible, for visibility these days seems to somehow equate to success—do not be afraid to disappear. From it. From us. For a while. And see what comes to you in the silence.’ 

This droplet of wisdom stopped me in my tracks. 

Maybe our metrics of success are a little wonky, our understanding of significance is malfunctioning. I think Michaela’s right, we know too much and see too much. Furthermore, we’re much too known and much too seen. We’re on display. Endlessly. And it’s not good for our souls. We’re teaching ourselves that if we’re void of attention, we’re void of significance.  

And that’s a problem. 

I’ve actually taken Michaela’s advice. I’ve taken to disappearing every now and again – I hate it, I fear it, I fight it with all my might - but I know that it’s a medicine I need to take. It reminds my soul that if I fell in the woods and nobody was around to hear it, I would still have made a sound.  

An unperceived existence still counts. We need to remind ourselves of that, and sharp-ish. Only then will we stop deifying attention and vilifying anonymity.  

And so, with all of that in mind, here’s to the Met Gala – the most prestigious event in fashion. And here’s to the people who weren’t at it. Wherever the appreciative eyes of the world are, may we all find the courage to be elsewhere.   

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