Essay
Creed
Joy
10 min read

Dreaming a world

When we dream a life, we dream a world. One of love, peace and joy. Such flourishing is a life led well, going well and feeling as it should.
Marketer stall traders and customers reach out arms and hands to exchange fruit and money above piles of produce.
'It is in the context of this whole world at peace that the true value of material goods becomes clear.'
Renate Vanaga on Unsplash.

Dreams are rarely modest. They don’t stay neatly in the compartments we make for them. Let’s say you have a dream job. Well, if you dream of working as an engineer or a baker or a teacher, you are also dreaming of clients, ingredients, or students and a school. Or maybe you have a dream home. Well, that home can’t exist in a vacuum. It requires a neighborhood, various political communities, a natural environment, and countless other people.

When we dream a life, we dream a world.

When Jesus preached, he announced a transformed world. When Christians dream a world, his is the world we ought to hope for. Jesus called it the “kingdom of God,” which is just to say, the world as God would have it be. That, however, only gets us so far. What kind of world would God want, after all?

Almost two-thousand years ago, some Christians in Rome were having trouble agreeing about this. Trying to help them out, Paul, the travelling preacher wrote them a letter. In it, he offered a “definition” of this ‘kingdom of God’. The Roman Christians were in danger, he thought of placing too much weight on a minor question about what food they should or should not eat. In response, Paul advises them to permit various different eating practices in their community: “For the kingdom of God is not food and drink,” he says, “but righteousness and peace and joy in the Holy Spirit.”

A life worth dreaming, Paul is saying, is not merely about the means of life— what keeps us alive – things like food, drink, money, safety, health, and the like. Flourishing includes these things, but it orients them toward life led well (righteousness), life going well (peace), and life feeling as it should (joy).

If we look at each of these three things in turn, we can glimpse a compelling vision of what it means to flourish and what kind of world we might dream of (and live towards) today.

Life Led Well: Righteousness

Righteousness, to be honest, is a strange word. It has a rather musty aroma to it: overly formal and more than a little out of date. These days, we hear it most often in the context of self-righteousness, which is decidedly not part of leading one’s life well.

So what on earth does Paul mean by it? Paul was writing in ancient Greek, and the word he uses could also be translated as “justice.” It’s an important word in the Jewish scriptures that Paul read. It means something like being in step with God’s law, which had been laid out in God’s agreement, or covenant with God’s people. This covenantal relationship is, according to Paul, the context in which our lives flourish. To lead our lives well is to act in line with the good intentions of this covenantal relationship. This is what “righteousness” means for Paul.

We might do all sort of impressive things, even things that look like moral heroism, but if we do them without love... they’re deeply flawed.

When Jesus was asked how to sum up the law that defines righteousness, he answered: Love God and love your neighbor as yourself. So a “righteous” life is a life of love. Whatever we might do, Paul says, if we do it apart from love, it lacks value. We might be a religious virtuoso with all sorts of nifty spiritual gifts, but if we lack love, we are “nothing.” We might do all sorts of impressive things, even things that look like moral heroism, but if we do them without love, Paul insists, they’re deeply flawed.

Some of the most famous words ever written about love give us an idea of what love looks like in practice:

“Love is patient; love is kind; love is not envious or boastful or arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice in wrongdoing, but rejoices in the truth. It bears all things, believes all things, hopes all things, endures all things.”

This kind of love isn’t just any kind of love. It’s God’s kind of love. It’s the love that God has shown over and over again in faithful care for the world and in particular for God’s people. It’s the love, above all, that we see in the life of Jesus, who was willing to die for us as an expression of love.

God’s love is faithful even in the midst of the world’s brokenness. This fact offers a profound sense of assurance. God is for us. And “if God is for us,” Paul writes,

“who can be against us?” If God gave God’s own Son for us, what would God not give?

“Neither death, nor life, nor angels, nor rulers, nor things present, nor things to come, nor powers, nor height, nor depth, nor anything else in all creation, will be able to separate us from the love of God in Christ Jesus our Lord.”

To be sure, the love of God does not guarantee that our lives will go well. Jesus faced misunderstanding and violent opposition. If we love like he did, we could face the same. In Jesus, the power and wisdom of God’s love looked like weakness and foolishness. Ours should too. In Jesus, the cost of love was death. We ought to be prepared for the same.

In a fully flourishing world, none of that would be the case. Love would not suffer but dance with joy. But our world is not yet fully flourishing. (Obviously.) Love, however, spans the gap between the world we have and the world we hope for because it’s how we should live on both sides of the divide. To love well is—always and everywhere—to lead one’s life well.

Life Going Well: Peace

Paul defines life going well as peace. Peace is primarily about right relationships, which are the most important of life’s circumstances. They’re the context in which the value of other circumstances (food, money, etc.) becomes clear. For Paul, life is going well when we live at peace with God, with one another, and with the whole creation.

The foundation of life going well is peace with God.  Against all the odds, God has made this peace for us, having “reconciled us to himself through Christ.” Ultimately, when Christ’s purpose is fully realized at the end of all things, the world will be filled with God’s presence and become the home of God, entirely at peace with its creator. This fundamental peace flows in and through all the relationships between creatures. We and the world come to be at home with one another when God is at home among us.

Captives should be set free. Needs should be met. Honor should be extended to those on the margins, in fact to everyone.

Paul thinks this kind of peace should start to show up here and now among those who have taken up Jesus’s way of life. In this community, “there is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus.” Unity in diversity and mutual belonging are foundational principles for the way of life Paul advocates. Captives should be set free. Needs should be met. Honor should be extended to those on the margins, in fact to everyone. This is how the Church is supposed to live. All too often, history shows us, it does not.

The good news is that Jesus’s peace is not trapped in or dependent on the church. Ultimately, it extends beyond the bounds of the human community entirely. Full human flourishing is bound together with the full flourishing of all humanity and the entirety of the creation.

It is in the context of this whole world at peace that the true value of material goods becomes clear. As part of a world loved by God and destined to be God’s home, the fruit of the creation and the products humans craft are valuable. And because they are valuable, it is important that they be equitably distributed. This is an essential component of true peace, one that is plainly lacking in our world today.

Because of the unjust distribution of material goods and the broken relationships it reveals, peace is not always possible, or even good. It would be wrong to live fully at peace with a wealth-obsessed vision of life or within an economic system where some starve while others waste nearly as much food as they consume. While we ought to pursue genuine peace, we ought to beware of false peace.

In this life, all is not at peace—and it will never be. Flourishing life in this world is lived for the sake of a peace that we will never find in its fullness this side of a renovation of creation that we cannot bring about for ourselves. Nevertheless, we should live as peacemakers. We should work to reconcile ruptured relationships among humans, between humans and God, and between humans and the rest of the natural world. We should also accept that we may be hated precisely because we are peacemakers. Sometimes leading our lives well results in our lives not going well.

Life Feeling as it Should: Joy

Paul offers us a vision of flourishing in which (1) a life led well is one of righteous love and (2) for life to go well is for there to be peace. How would it feel to live such a life? One word could never sum it up completely, but Paul’s best shorthand is joy.

Joy is an emotional response to something that we recognize as good. We don’t simply rejoice in the abstract; we rejoice over something that we take to be good. In the context of a fully flourishing life, joy is the “crown” of the good life: joy is the appropriate response of the righteous person in a world at peace.

Solidarity like this requires us to resist modern tendencies to weep over those who rejoice (Instagram’s FOMO) and rejoice over those who weep (Twitter’s schadenfreude). In a broken world like ours, not all joy is worthy of the name.

This world, however, is not at peace. Consequently, there is much over which we should not rejoice. Love must regulate what gives us joy: love, Paul writes, “does not rejoice in wrongdoing, but rejoices in the truth.” Our emotional lives, Paul is saying, ought to be indexed to the truth of the world as it is. In short, it is more important to feel rightly than to feel good.

Another person’s suffering, for example, should elicit compassion, not joy. “Rejoice with those who rejoice, weep with those who weep,” Paul writes. Solidarity like this requires us to resist modern tendencies to weep over those who rejoice (Instagram’s FOMO) and rejoice over those who weep (Twitter’s schadenfreude). In a broken world like ours, not all joy is worthy of the name.

There is, however, an omnipresent cause for good joy, even in this life: God. Even when life’s circumstances are plainly not as they should be, there is still God, whose loving presence can and should be the cause of joy. That’s why Paul can command joy: “Rejoice in the Lord always.”

How does Paul expect us both to “rejoice always” and to “weep with those who weep”? Note that the command is to rejoice always, not to only rejoice. In this life our joy often must be mixed with sorrow. Rejoice in God, but lament over injustice. Rejoice in God, but weep with a neighbor in pain. Even our joy over genuinely good aspects of the world—the small joy of a sweet wild strawberry or the large joy of reconciling with a long-estranged friend—ought to be tinged with sorrow over the fact that this precious thread is not yet woven into a tapestry of fully flourishing life. In the world as we know it, joys are also always longings. They reach for a world in which they would extend into an unending web of joy. Our joys, Paul insists, ought to be as immodest as our dreams. They ought to reach for a whole world. 

To sum up: in this world, flourishing life is

  1. always and only a life of love,
  2. always but not only a life of joy
  3. neither always nor only a life at peace.

In the end, all three are woven together, but in this life, in which there are circumstances with which it would be wicked to be at peace and over which it would be evil to rejoice, love must come first.

When we dream a life, we dream a world. A world of love, peace, and joy, in harmony with one another. This is the world Jesus’s life summons into being. It lies beyond this immature and evil-stricken world. And yet it summons us. We hunger for it.

Paul affirms this hunger. It is a sign that we were indeed made for more than the lives we experience here and now. And yet it also points to the fact that some foretaste of that life can be discovered here. In little pockets of peace in communities marked by love, there are yet grounds for joy. Grounds that help us see every good thing around us as a gift from God.
 

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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 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. 

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