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
Leading
6 min read

Great storytelling elevates this Star Trek hero to messiah status

Before Captain Kirk, came a compelling commander

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

Captain Pike of Star Trek.
The other captain.

Last month saw the release of the third season of Star Trek: Strange New Worlds, the prequel series that follows the crew of the USS Enterprise before one James T. Kirk took the captain’s chair. Not only does the show have the heady mix of fun and serious subject matter, it also has something quite rare for Star Trek; a messiah figure. 

Ever since its first airing in 1966, Star Trek has presented a utopian view of the future. The show’s creator, Gene Roddenberry created a world where humanity had grown up and had moved past its petty squabbles. In Roddenberry’s twenty-third century, prejudices around race, class or sex were non-existent. There were, however, some groups that could not get a look in. One topic that got very little representation was sexuality, the other was religion.  

Representation of differing sexualities would become something that Star Trek would eventually excel at depicting. Religion, however, has not fared quite so well. Star Trek’s staunchly secular universe is clearly a reflection of Gene’s views. What is interesting though, is the way that in a franchise so resistant to even the idea of God, is how concepts related to him seem to seep into the storytelling. The use of a Messiah figure, specifically a character who sacrifices their life to save others is hardly new in Star Trek. At least two captains come to mind. But there is something particularly novel about Captain Christopher Pike.  

For those who are in need of a bit of trivia, Pike, not Kirk, was the first captain of the Enterprise to be depicted. In an unaired pilot, Captain Pike is portrayed by matinee idol, Jeffrey Hunter. This captain is seasoned, world weary, and very serious. Perhaps a little too serious as the network at the time didn’t like the show in that form. They did however, take the unconventional step of ordering a second pilot, which was lighter, and more colourful in tone. Reports differ wildly as to whether Hunter quit or was fired, but one way or another, he did not return to reprise the role of Captain Pike when the show went to series. Instead, the character of Pike was replaced with James T. Kirk, played by a young William Shatner.  

This then presented the show with a problem. The production company had an entire episode’s worth of footage costing $645,000 (around $6.5m today) that was unusable in its current state. The novel solution to this problem was to write a framing story where Spock mysteriously commandeers the Enterprise and kidnaps now Fleet Captain Pike. When Spock turns himself in for court martial, he presents video footage in his defence. Footage which just so happens to be selected shots from the unaired pilot. There was just one problem with this. Jeffrey Hunter was unavailable for filming, so they had to cast another actor in the role. As the episodes would show Jeffrey Hunter’s Pike on screen, it would make the recasting look obvious. So actor Sean Kenney was slathered in burns makeup, put in a restrictive wheelchair and only able to communicate through a series of beeps, with Roddenberry writing in an explanation of how Captain Pike had been seriously injured in an explosion on a ship saving some cadets, and was now suffering from ‘locked in syndrome’. 

When Star Trek: Discovery’s second season came around, they chose to include characters such as Captain Pike (now played by Anson Mount) and Spock (Ethan Peck) to serve as a backdoor pilot for Star Trek: Strange New Worlds. Rather than steering clear of the convoluted backstory, they leaned into it, having a confident, able-bodied Pike receive a premonition of his own terrible fate. He is told at the time that he can escape if he gives up, but if he goes ahead in completing the mission, it will seal his fate. In that moment, Pike rallies himself by saying: 

“You’re a Starfleet Captain, you believe in service, sacrifice, compassion and love. No, I'm not going to abandon the things that make me who I am because the future…it contains an ending I hadn't foreseen for myself”. 

Discovery simply had too much plot in it to resolve Pike’s story satisfactorily, so when Strange New Worlds launched, it gave Pike the chance to fully unpack his trauma.  

The first episode of Strange New Worlds sees Captain Pike considering retirement from Starfleet. After all you can’t have an accident in space if you never go on a spaceship right? However, he’s drawn back into captaining the Enterprise in order to rescue his first officer, Una, who is trapped on a primitive planet. After saving her, Pike resumes command of the Enterprise. Una is aware of Pike’s vision of the future, and is desperate to dissuade him of walking into a situation that will leave him so disfigured. At which point, Pike tells her he knows the names of all the cadets he saves on that day.  “Stay the course, save their lives” he tells her.  

In the season one finale of the show, Pike meets a young boy, Maat, who is eager to join Starfleet, and Pike realises he is one of the cadets that he is unable to save. He is about to write a letter to the boy, trying to tell him about his future, when a future version of himself arrives. Throughout the course of the episode, Pike learns that if he avoids his fate and stays in command of the Enterprise, he will inadvertently start a war with the Romulans that will result in Spock’s death.  “Every time we change the path, he dies” his future self tells him. This furthers Pike’s resolve to stay the course.  

When viewed through this particular lens, Captain Pike’s story in Strange New Worlds is in effect, one long extended Garden of Gethsemane scene. In both cases we see a man, fully aware of the impact his sacrifice will have for the future, but at the same time, still feeling nervous, scared, and wanting to reject the bad hand he’s been dealt. But in both cases, both Jesus and Captain Pike recommit themselves to their mission and their fate. There are no shortage of heroes in sci-fi/fantasy, who sacrifice themselves in the heat of the moment. But a character who has multiple chances for escape, one who has time to consider the torturous weight of his own destiny, and still decides to go through with it? This elevates the character from a simple ‘hero’ to a ‘messiah figure’.   

As a result of this, watching Strange New Worlds has now taken on an experience similar to watching The Chosen, the multi-season show centred around Jesus and his disciples. Both shows have an effortlessly charismatic central character who leads those around them with grace and humility, and the more you fall in love with these characters, the more you’re reminded that something absolutely horrendous is going to happen to them. Whilst we know it must happen, it still makes us anxious at the thought of going through it.  

Over thirty years since Gene Roddenberry’s death, it’s hard to tell what he would have thought about the evolution of one of the first characters he wrote for Star Trek. On the one hand he might have rejected it out of hand for its parallels with the story of Jesus, a religion he disdained. Or he might just love it for what it is; really, really good storytelling. 

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