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. 

Review
Culture
Film & TV
5 min read

Captain America's impossible task

Brave New World struggles despite some acting heroics.
Captain America crouches expectantly beside his shield
Ready for the next review.
Marvel Studios.

Captain America: Brave New World is the thirty-fifth film in the Marvel Cinematic Universe (MCU), and the fourth film focusing on the character of Captain America. It’s also something of a sequel to a passible Marvel TV series. There is so much baggage, so much lore, so much build-up to this film; a production which has the unhappy task of honouring the seventeen years of previous storytelling, setting up plot points that can be explored in future films, and giving us a satisfactory stand-alone cinematic spectacle. I wouldn’t wish such a burden on anyone – an impossible task. 

Brave New World sees Sam Wilson fully inhabiting the role of superhero Captain America, a mantle bestowed on him by his friend and original Captain, super soldier Steve Rogers. Still doubtful of his worthiness and abilities, he seeks to wield the Vibranium Shield with style. He is sent on a mission to retrieve a stolen military secret from a group of mercenaries. He does so – with a few decent action set pieces – and is rewarded with an invitation to the White House.  

The newly elected President, General Thaddeus ‘Thunderbolt’ Ross, is seeking to shed his past reputation as a warmonger by negotiating an international peace treaty. A newly discovered resource has the capability of changing the face of medicine, technological innovation, and especially warfare. Every great power covets it, and Ross wants to foster collaboration for the betterment of the planet. The gala event is ruined when Sam’s friend Isaiah Bradley, a super soldier from the Koren War who was wrongly imprisoned, goes all Manchurian Candidate and shoots at the President. 

The peace treaty is in jeopardy. The President’s inner circle is compromised. There are secrets and lies that will not stay buried. There is a shadowy villain operating behind the scenes, determined to destroy the President’s reputation. Only one man can fight for truth, justice, and the American way: Captain America. 

This is as much as I can say without spoiling the entire film. 

Not that it would matter. The film is a bit of a mess.  

Sam is proposed as an underdog (having not actual superpowers, only a suit of armour), but is shown to be essentially indestructible…he literally disables a missile by flying into it headfirst. There is no sense of tension or risk. This is not helped by lacklustre action and some genuinely appalling CGI. The plot is all over the place – a result of some rather obvious reshoots featuring green screen that even the most amateur filmmaker could’ve improved. Most of the secondary storylines peter out. New characters and introduced and given almost no personality or progression. 

The script compensates for this by giving characters long monologues where they deliver clunky plot exposition and background information. This was inevitable. To understand the plot and characters requires one to have been a careful watcher of the previous films and television shows. I was somewhat impressed how the film managed to give a gentle introduction to the casual viewer, but it is very much at the expense of pacing and character development. 

All of this is a great shame, as the performances are rather good. Anthony Mackie has always been a magnetic screen presence and manages to combine both charisma and pathos is an uncharacteristically restrained performance. Tim Blake Nelson enjoys himself as the puppet-master villain, oozing bile and sympathy in equal measure. Every minor friend and villain delivers their lines with real feeling. Bloody hell…even lovable grump Harrison Ford looks like he’s actually trying as President Ross. 

Unfortunately, no amount of charisma can make up for a film that has no sense of itself. The shambles of a plot is matched by the shambles of a theme; a sadness, as there is so much potential. Sam Wilson is one of only a handful of black superheroes, and his friendship with Isaiah Bradley is partly based on their shared experience of race and discrimination in the face of honour and duty. This was introduced in the TV show and could’ve been explored further. Sam’s lack of superpowers could have been explored, had he been put in positions of genuine peril. His sense of inadequacy and overwhelming responsibility are mentioned, only to be quickly dismissed with a pep-talk from a throwaway cameo character. The concepts of conspiracy and disillusionment with authority are hinted at, but they formed the thematic thread of the previous three Captain America films, and when this film does approach them, it is by echoing the better storytelling of previous films. 

There is one plot thread, one theme running through the story, which goes some way to redeeming the film. President Ross is haunted by his past. A patriot, a soldier, and tireless worker for American security, Ross has a past littered with sins and mistakes. His anger, his bullishness, his obstinacy (physically manifested at the end of the film), has left him all alone. His daughter doesn’t trust him, Sam doesn’t trust him, and his international partners don’t trust him. He is seeking to become a better man, working towards cooperation rather than force and violence. However, his past life and secrets continue haunt him and stall his progress at self-improvement. 

In the end, by being open and honest and taking responsibility for his mistakes, Ross does achieve a certain amount of peace. He is able to be the figure of nobility and unity that he longs to be by sacrificing his power and prestige, and truly atoning for his misdeeds. Despite all the problems with the film, this (admittedly underdeveloped) bit of character study kept me engaged. Perhaps it was Harrison Ford’s performance. Perhaps it was because we’re approaching Lent, when Christians make an extra effort to acknowledge their past mistakes and resolve to do better. Whatever it was, it furnished the film with a truly sympathetic and improving theme. I wouldn’t spend money in the cinema, but wouldn’t mind seeing it in the TV guide in the future. 

2.5 stars. 

​​​​​​​Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief