Essay
Church and state
Creed
Royalty
6 min read

After the coronation: what next for church and state?

As the coronation recedes, what's the future for an established church or a religiously impartial state, asks Jonathan Chaplin.

Jonathan Chaplin is a lifelong Anglican, a Fellow of Wesley House, Cambridge and author of Beyond Establishment: Resetting Church-State Relations in England (SCM 2022) 

A team of street sweepers clear up the road after the coronation procession, outside the Houses of Parliament.
Sweeping the street after the coronation.
Westminster City Council.

The magnificent and mysterious pageantry of the coronation, climaxing in the thrill of ‘Zadok the Priest’ bursting out over the royal anointing and the tremulous descent of St Edward’s crown onto the head of the king, are now receding into memory. The performative power of the event may linger for a while, but the time for critical reflection on what just happened has already begun.  

The event will have evoked a wide variety of responses in different sections of the nation. Polls suggest that the majority remained largely indifferent, probably including many who had the TV on in the background while enjoying a long weekend spent on other things. A minority, not only vocal supporters of ‘Republic’, will have found the whole thing objectionable in principle. That will likely include many among the majority of young people who now report sharply declining support for the monarchy itself. 

To have tampered overmuch with its religious character would have been to undermine their sense of cultural identity, whatever they made of it theologically (if anything). 

Some, also a minority, will have looked to it to reconnect with longstanding British traditions that allow us to rise, even momentarily, above the grasping character of party politics and to offer to a fractured and anxious people a renewed prospect of national harmony.  

For some among that minority, the religious character of the event will have been important. To many from non-Christian faiths, the coronation consolidates an Anglican Establishment which, they think, serves to protect the public standing of all faiths. The (welcome) participation of representatives of Britain’s minority faiths in the event will have confirmed that perception. 

To others in the same minority, Christianity – represented here by the Church of England – is an essential thread in the weave of a national culture in need of shoring up. To have tampered overmuch with its religious character would have been to undermine their sense of cultural identity, whatever they made of it theologically (if anything). 

To still others – we are now talking about a small minority-within-a-minority – the Christian character of the event is decisive to its intrinsic meaning and public significance. Mostly but not exclusively English Anglicans (the category includes many Catholics, for example), such voices claim that the coronation expresses a distinctively Christian theology of accountability and service that has been vital in the formation of Britain and should be retained if such goals are to be kept alive.  

Political authority, they argue, is a trust from God, laying on its holders a solemn, ‘covenantal’, duty to govern according to God’s justice and to serve the common good. This theology was lucidly expressed in the Church of England’s commentary on the Coronation liturgy and appeared in many other Christian statements ahead of the event (for example, here, here and here). Bishop Graham Tomlin expressed doubt that there could be a better way to uphold a vision of accountable government. 

This Christian theology of accountability, while truly at the core of the coronation liturgy, was almost entirely ignored by the media before and during the day. 

The few in the secular media that did recognise its specifically Christian character mostly reacted indifferently or adversely to it (the Daily Telegraph’s Tim Stanley, a Catholic, was one exception). Some drew attention to the incongruity of one small and declining English Christian denomination continuing to preside over the investiture of the head of state of a pervasively secularised, religiously plural, and multinational, United Kingdom. The Guardian’s Martin Kettle even claimed that the event amounts to ‘a lie at the heart of the British state’. ‘The lie is that Britain is a practising Christian nation, and that it is defined and held together by the established Protestant religion, of which the monarch is the embodiment’. 

Whether or not we accept that harsh verdict, it is surely necessary for the Church of England to confront the bleak sociological facts behind it. With fewer than three per cent of the population actively committed to the Church of England, what remains of its entitlement to enjoy the privileges and bear the responsibilities of being the ‘national Church’? Is there not a glaring presumption in wishing to remain the custodian of ‘the faith of the nation’ when the nation has overwhelmingly abandoned that faith – however much some still feel an affection for it as an embellishment of English culture? 

But the Church of England should not be driven primarily by sociological considerations, telling though they are. It should be guided by theological imperatives. And that requires it to revisit the theology of accountability outlined above. The problem is not with the claim that rulers are accountable to God and people. That has long been the central assertion of Christian political theology; I affirm it. The problem is with granting that claim a constitutional status – which is exactly what investing a head of state in the context of a Christian service amounts to.  

Defenders of the coronation typically refer back to the polity of biblical Israel to justify its sacral character. But they tend not to acknowledge that, in the Hebrew scriptures, biblical Israel was, uniquely, established by God as a covenanted confessional polity in which only the religion of Yahweh was permitted (and in which the priestly anointing of kings was prescribed).  

But this arrangement has now been rendered obsolete by the ‘New Covenant’ inaugurated in Jesus Christ. The people of God have been transformed into a transnational voluntary fellowship of Christ-followers, no longer bound to any one territorial national political community, still less to one legitimated by one religion and protecting only that religion. In the era of the New Covenant, states no longer possess the right to express an official view of the truth of religious claims. By implication, that also means they may not decide that any religion should be endorsed or preferred. This suggests they should maintain a posture of impartiality towards religions, and indeed towards other ultimate truth-claims (such as secular humanism). That is one way of treating their citizens equally, which is another basic political principle originating in Christian theology. 

A religiously impartial state is not a morally empty state, but a limited state – a humble state.

Some will reply by claiming that this is a ‘secular liberal’ stance that abandons the political community to agnosticism, leaving a moral and spiritual vacuum at its heart. Rather, this view of the religious incompetence of the state is itself an outcome of Christian claims. These claims originated with the theologically orthodox seventeenth-century Dissenters but were eventually taken up by thinkers such as Locke and others in the broader liberal movement.  

A religiously impartial state is not a morally empty state, but a limited state – a humble state. It certainly needs the resources and challenges of faith communities, among many others, to fulfil its vocation to serve the common good. But it need not, and theologically may not, confer constitutional privilege on any religion or religious organisation. 

If the UK were to become such a state, its head of state could still be installed in a rich, morally freighted civil ceremony, perhaps in Westminster Hall, in which the monarch, and the governments acting in their name, could be solemnly charged to uphold ‘law, and justice, with mercy’ (as the Coronation oath puts it). Other European constitutional monarchies without coronations perform as well as ours on that score, mostly without any elements of an established church at all.  

The task of the Church of England and other churches, alongside other citizens, would be to project into political debate their particular visions of what these commitments mean, and employ all democratic means to hold governments to account for fulfilling them. They are already doing this; they could do so more effectively.

The Church of England could then do so unburdened by the jarringly mixed messages sent by its retention of constitutional privilege and by its very visible association with the royal pomp and opulence of a traditional coronation. It may have only a decade or so to prepare itself for such an eventuality. 

Review
Culture
Film & TV
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 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.