Article

America

Creed

Justice

5 November 2024

6 min read

Is it okay to be mean as long as you are mean and right?

Here's what a mean street preacher really taught me.

Nathan Betts

Nathan is a speaker and writer on topics related to faith, life and God. He lives near Seattle, Washington. His writing is featured frequently in The Seattle Times. nathanbetts.com

Behind a passer by a street peacher holds up a large yellow sign with a message on it.

Street preachers on the Hollywood Walk of Fame.

LaTerrian McIntosh on Unsplash.

A few months ago, my cousin was visiting my hometown of Seattle for work. We planned to meet one evening for a Mariners baseball game during her visit. I suggested that we meet near the wonderful Ken Griffey Jr. statue near the stadium gates. What I hadn’t realized was that this was the precise spot a street evangelist had also decided to station himself in order to share (mostly shout) his message of judgement and destruction the same evening. Kind of like a pre-game verbal hors d'oeuvres. I arrived at the meeting point a few minutes before my cousin, giving me ample time to hear the preacher preach.

Now, I grew up in church, and, in fact, am myself a speaker and writer on topics involving faith and God. In other words, I’ve had over 40 years to experience the church’s, umm, “quirks”. I’d like to think that very little coming from the mouths of faith preachers could shock me. Alas, I was wrong.

As I began to listen to the preacher, lines like “weeping and gnashing of teeth” scorched through the preacher’s megaphone. Yep, nothing new there. The preacher used the word “judgment” a lot. Actually, impressively a lot. I’ve never before heard the words “God” and “judgment” used in conjunction more times within a two-minute span. There was a raging intensity to the sermon, but still in the range of normal for street preaching.

Then, my cousin texted me that she was outside the ballpark but might have gotten the location wrong. I realized she and I were at two different locations. While I texted my cousin back, I tuned out the preacher’s message. That is until I heard him shout through his megaphone, “He hates you.” I stopped texting. I looked up at the preacher. Did he just say that God the Almighty hated all of us outside the ballpark? Families, little boys and girls, and elderly? Did God hate all of us lining up for the game? It was “bark at the park” night so even the dogs were casualties in the preacher’s line of fire. If nothing else was gleaned from the man’s message, it seemed, we were all to understand that God hates us.

Minutes later, when my cousin and I finally found each other, I told her that she had had the good fortune of missing out on the street preacher informing her that God hates her. She replied, “Oh, I have plenty of others who tell me that!”

Sadly, many of us have received that negative message from different sources in our world and too often from people sharing some association with God.

In America, as election season comes to the boil, I’ve noticed (and maybe you have too) the not-so-subtle attitude that it’s okay to say mean things about another person as long as that person is on “the other side”. A verbal dig here, an eyeroll there, name-calling and slanderous nick-naming the enemy for the sake of ridicule have become all too common, if not a soft virtue in political discourse. It has become hard to discern where the moral line is, or if such a thing still exists within political dialogue.

Conversations like the following happen so frequently following a political debate or interview, they’ve become cliché: “I almost cannot believe he said that!” Response: “Well, yes, that was pretty bad. But he’s right, isn’t he?” Translation: it’s okay to be mean as long as you are mean and right.

Evangelicalism has gained a hard edge with little resemblance of the good news from which it has its very name.

The meaning of the word ‘evangelical’ here in America is a complex thing, to be sure. But perhaps one of the reasons it is understood as a political word more than a religious one is because the combative and rude nature of discourse seen in politics has become increasingly acceptable even in Christian settings. As a friend of mine said to me years ago, “It feels as though Christians have turned rudeness into a spiritual gift.”

The thing is, you probably don’t know the preacher I heard in downtown Seattle, but you’ve probably heard or know a person who makes Christian claims in the same kind of rude ways. The result is that evangelicalism has gained a hard edge with little resemblance of the good news from which it has its very name.

I’ve had the privilege of speaking to audiences on topics of faith and God for around 20 years now and I’ve lost count of the number of people I’ve met who feel unlovable, already hated, and unforgivable for the decisions they’ve made in life.

So when I hear a preacher shouting a message through a bullhorn in the name of God and I hear not words of hope, peace, grace, love, and forgiveness, but strictly judgement and burning, I fail to see how this God can be the one who came to earth out of love for people in the person of Jesus Christ.

It’s true that the Bible does depict God enacting justice and judgement. But equally true is that the Bible not only displays, but out-and-out defines God as being love. My concern with the street preacher’s message is that although he might have communicated the justice of God (albeit in a warped way that would make old-time revivalists look tame), his message left little room for hearing about and feeling the love of God.

If there is anything we need to hear today, it is the message that God, in his very nature, is love. One particular writer of antiquity, and a close friend of Jesus Christ, once penned a letter to first century churches. In attempting to explain what God is like and what people of faith should be like he wrote: “Dear friends, let us love one another, for love comes from God. Everyone who loves has been born of God and knows God. Whoever does not love does not know God, because God is love.”

For those of us who have never been to a church, we only need to watch or attend an American football game to see a sign with the words John 3:16. That reference, taken from one of Christ’s biographies states that, “This is how much God loved the world: He gave his Son, his one and only Son. And this is why: so that no one need be destroyed; by believing in him, anyone can have a whole and lasting life.”

This is a message we need to hear. It’s something we need to let into our bones—that those of us who feel beyond the reach of love, are in fact loved by God.

In a strange way, I can’t help but admire the guts those street preachers have, banging out an unpopular message to strangers in crowds. The problem lies in the fact that often their message, so boldly proclaimed, is God’s disappointment, disapproval, or outright hate for people.

Because this is the truth and too important to miss: God doesn’t hate you. He loves you. He always has and he always will.

Review

Culture

Film & TV

7 August 2024

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.