Explainer

Creed

Freedom of Belief

8 May 2024

7 min read

Nicaragua in peril

Daniel Ortega's power grab fuels persecution.

Jane Cacouris

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

An balding man with a moustache turns to look at a camera.

President Daniel Ortega.

Nicaragua is the largest country in Central America with a varied and beautiful landscape; towering volcanoes, unique freshwater habitats - Lake Nicaragua is the region’s largest lake - and spectacular marine environments. It has huge potential for development according to the World Bank. But despite this, not only does Nicaragua remain one of the poorest countries in the region but it is caught in the grip of an increasingly totalitarian regime that, according to a recent all-party “Nicaragua Inquiry Report” by UK Parliamentarians, is taking consistent steps to silence democracy and close civic space. This includes human rights violations against religious leaders, particularly within the Catholic Church, as well attacks against political opposition, journalists, scholars and human rights defenders.

The Ortega dynasty

President Daniel Ortego returned to power after a break of seventeen years in 2006. Historically a Marxist revolutionary, on his return as President, Ortega threw out his left-wing ideals for more achievable policies. However, in 2012, his politics took a disconcertingly authoritarian turn when he pressured the Nicaraguan Supreme Court to authorise his bid for a second presidential term. And more recently, the Nicaraguan Government, which includes Ortego’s wife, Vice President Rosario Murillo, and several of their nine children in prominent positions, has escalated its campaign of persecution against Christians and the Catholic Church.

The harassment started in 2018 with a wave of protests across Nicaragua. University students and others took to the streets to demonstrate against the Government’s proposed social security reforms set to increase pressure on workers whilst providing fewer benefits. Ortega, seeing these protests as a threat, responded with violence using pro-government militia and security forces. According to the United States Commission on International Religious Freedom (USCIRF), 355 people were killed and approximately 2,000 injured making it the deadliest and most violent protest since the Nicaraguan revolution in 1979. Following these protests, the Ortega regime then escalated its human rights violations raising concerns internationally. According to the UNHCR, since 2018, neighbouring Costa Rica has hosted over 300,000 Nicaraguans seeking asylum.

The intimidation and incarceration of clergymen under the Ortega regime in Nicaragua is particularly chilling. It sends a clear message of contempt for God’s priests.

Persecution of Christians in a Christian-majority country

The World Watch list is an annual report published by Open Doors, an NGO which supports Christians worldwide, and lists the fifty countries in which Christians face the ‘most extreme persecution’. The latest report shows Nicaragua has risen up the list, from number 50 last year to number 30 in 2024 rankings. Over 95% of the Nicaraguan population profess to be Christian, so this is perhaps a surprising development.

In 2022, according to the Nicaragua Inquiry, President Ortega was reported to have:

“ordered the arrest of, forced into exile, and verbally attacked priests and bishops, labelling them ‘criminals’ and ‘coup-plotters,’ and accusing them of inciting violence.”

Most publicly known about is the Bishop of Matagalpa, Rolando Álvarez, who was sentenced to 26 years in prison and later exiled to the Vatican and stripped of his Nicaraguan citizenship. At the end of 2023, the Government arrested and detained seventeen clergymen including Father Silvio Fonseca, an open critic of the Nicaraguan government’s intense persecution of the Catholic Church, and two Bishops who publicly offered prayers for Álvarez before they were arrested.

In Latin America, culturally there is a reverence for clergymen that differs to what we see in the West. I lived in Rio de Janeiro in Brazil for a number of years and worked with my husband (who is an ordained Anglican priest) in a favela (shantytown) routinely patrolled by armed gangs. When we first enquired about the safety of walking into the community on our own, a local resident assured us that we would be fine, saying “They will never shoot a pastor”. Perhaps that is why the intimidation and incarceration of clergymen under the Ortega regime in Nicaragua is particularly chilling. It sends a clear message of contempt for God’s priests that will strike to the very core of people of faith across the country.

Over the past year, according to the Inquiry, the Nicaraguan government has also systematically targeted and closed religious organisations that it views as opponents and banned Catholic traditions such as street processions during Holy Week. A journalist was recently sentenced to eight years in prison for reporting on an Easter procession. And perhaps most insidiously, the government has begun to routinely intimidate worshippers, with uniformed and plain clothes government agents visibly monitoring religious services to intimidate clergy and churchgoers.

Three centuries of religious persecution across the world

Religious persecution is etched firmly into the history of humanity through to the modern day. From Emperor Nero’s outlawing of Christians across the Roman Empire to the persecution of Muslims and Jews in the Crusades, to the Armenian genocide in Turkey following the First World War to attacks on the Rohingya in modern-day Myanmar.

Today religious freedom is a hallmark of a developed society, widely considered to be a basic human right. And indeed, the right to freedom of religion or belief is relevant to an array of SDGs (Sustainable Development Goals) aiming to reduce inequality and improve health, education, gender equality, access to justice and climate action. Religious inequalities and discrimination are key obstacles for progress in many of these areas.

According to UN’s Declaration of Human Rights, “Everyone has the right to freedom of thought, conscience and religion… either alone or in community with others and in public or private, to manifest his religion or belief in teaching, practice, worship and observance.”

But in spite of this global commitment, and although 123 of the 193 Member States of the United Nations have served as Council members on the UN Human Rights Council (of which Nicaragua is currently a member state), religious freedom is under threat in many parts of the world today. And it takes many different forms. Some countries in the Middle East expressly forbid all religions except Islam whilst others, such as North Korea, do not permit any religion at all. The most recent annual report of the USCIRF lists 28 countries—home to well over 50 per cent of the world’s population—with Governments actively persecuting their citizens for their religious views.

But is it about religion or is it all about power?

In Nicaragua, the Catholic Church has power in numbers and therefore an influential voice. When Christians such as Bishop Álvarez, a vocal defender of civic freedoms, began to join other civil society actors in speaking out more critically against the Government, the persecution began. Catholic clergymen have long been targeted for speaking out against authoritarian regimes in other Latin American countries. For example, Archbishop Romero y Galdamez was assassinated in 1980 in San Salvador when he appealed to the military dictatorship to stop the brutal repression of the people.

But arguably, the Ortega regime’s crackdown on Christians isn’t only because of its fears of the Catholic Church’s power and influence in Nicaragua.

Having the capacity and choice to believe in God - to have faith - is a profound and powerful characteristic of being human. For Christians, faith in God and Jesus Christ comes first, before any political, social, or economic order. Humans who have a real and living faith in a higher power are defined by it, both individually in how they live out their lives and collectively in how they come alongside others who share the same faith. Perhaps that is why totalitarian regimes that lay claims on the whole person and want ultimate power and control over the collective, are so intent on destroying or co-opting religion.

Thankfully the international community is on alert. Ortega is being called out for his regime’s spiralling human rights record and persecution of Christians. But there is no room for apathy. In the book of Proverbs in the Bible, it says “Speak up for those who cannot speak for themselves… Defend the rights of the poor and those in need.”

As the words of the poem, First They Came by Pastor Martin Niemöller presented at the start of the Nicaragua Inquiry Report movingly remind us,

First, they came for the Communists

And I did not speak out

Because I was not a Communist

Then they came for the Socialists

And I did not speak out

Because I was not a Socialist

Then they came for the trade unionists

And I did not speak out

Because I was not a trade unionist

Then they came for the Jews

And I did not speak out

Because I was not a Jew

Then they came for me

And there was no one left

To speak out for me

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.