Column
Biology
Creed
7 min read

Not just red in tooth and claw: biology's big debates

In the second of a series, biologist and priest, Andrew Davison, examines why it’s important to keep up with biology’s big debates.

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

An osprey, in flight, holds a fish in its claws.
‘Wherever there’s water or air to navigate, the laws of fluid dynamics are bound to throw up wings, and bodies shaped like fish.’
Photo by Mathew Schwartz on Unsplash.

There’s hardly been a livelier time for evolutionary science than today; indeed, passions can run high. It’s not that Darwin’s vision of evolution is fundamentally in doubt: species adapt by natural selection, there’s variation between individuals, and those better adapted for their environment survive more often, passing on their genes to their children. In that, the theory of evolution stands, but many other parts of the evolutionary picture from the second half of the twentieth century are coming under criticism. That includes the following maxims:  

‘the only significant form of inheritance involves genetic code’, 

‘nothing that happens to an organism during its lifetime is passed on to its progeny’,  

‘we agree what we mean by “species”’,  

‘genes pass down the branches of the tree of life, not between them’,  

and ‘evolution is fundamentally all about competition, not cooperation’. 

Among the excellent crop of writers on these themes, Eva Jablonka and Marion Lamb stand out for their elegant prose, and a gift for communicating complex ideas clearly. As they recognise, the standard mid-twentieth century model of evolution might be worth criticising, but it’s also landed all sorts of important basic points. (They list ten.) The shortfall of the earlier, dominant theory was in being too narrow, with each insight too quickly eclipsing others.  

Here are two examples. First, the classic twentieth century picture saw inheritance in terms of DNA and genes, passed on by ‘germline’ cells, such sperm and pollen. That’s all true, but it shouldn’t restrict our wider view of inheritance to that. Today, writers such as Jablonka and Lamb stress that organisms inherit from their parents (or parent) in all sorts of ways.  

A second plank of the twentieth century picture is that evolution involves descent from a common ancestor. Again, that says something vital, even central, accepted by evolutionist old and new. The twentieth century position, however, added a restriction: that’s all that’s important on this score. The newer perspective recognises that while genes are – of course – central, and passed on from parent to child, organisms also swap genes between themselves (between branches of the tree of life, not just along those branches), even between very different species. 

If we’re not careful, what’s written and taught (not least by theologians), even with the best will in the world, will be thirty or even fifty years out of date. 

There’s a lot of excitement around these sorts of claims (and, remember, Jablonka and Lamb make eight more), and that can get quite noisy. Defenders of the older, narrower picture typically say that the newer themes are simply fuss over minor points. Advocates of the newer perspective disagree, saying that the twentieth century picture risks missing some important features of biology, which are now coming into better focus. 

Why such debates matters 

Why might this ferment among biologists matter for a site like this one, and for theologians, and discussions of religious matters? Well, for one thing, as I pointed out in my previous article, nothing quite dissolves the supposed animosity between science and religion (which is, after all, a relatively recent invention) like theologians and religious people getting excited about biology. It’s also important that any humanities scholar, the theologian among them, who’s engaging with science should keep up to date. If we’re not careful, what’s written and taught (not least by theologians), even with the best will in the world, will be thirty or even fifty years out of date. 

But there’s more at stake. As we have seen, the twentieth century picture, for all it brought an admirable clarity to evolutionary thought, was reductionistic. We see that in Jablonka and Lamb’s exhortation to scientists: ‘yes, stress x, but don’t think that means you have to deny y.’ A religious vision tends to be an expansive one. It wants to recognise the reality and value of all sorts of things. Yes, there’s matter, atoms, molecules, and genes, but there’s also organisms, agents, cultures, groups, economies, hopes, loves. They’re all real. We can’t reduce one to the other: not organisms to genes, or agents to economies. A turn from reduction is welcome. 

More than that, almost everything in the emerging twenty-first century view of evolution is fascinating from a theological perspective.  

Take convergence, for instance. It turns out that evolution isn’t just driven by randomness, or by the demands of the surroundings. Also important are various features of physics, or mathematics – the contours of reality – that throw up elegant solutions to evolutionary problems, which are adopted by evolution time and again. Wherever you need to sturdy and space-efficient packing of cells (as in a honey comb, or a a wasp’s nest), the hexagon is ready and waiting.  Wherever there’s water or air to navigate, the laws of fluid dynamics are bound to throw up wings, and bodies shaped like fish, dolphins, and penguins (which are all quite similar in shape).  

How do we know this? Because evolution has converged on wings and that body shape independently, many times, as also on eyes, and everything else that Simon Conway Morris lists in the nine closely printed columns of convergences in the index to his book Life’s Solution. Evolution certainly involves randomness and need, but alongside them is something more like Plato’s forms: timeless realities, there to be discovered and put to work. Among the more theological of these eternal verities, covered in Conway Morris’s book, are perception, intelligence, community, communication, cooperation, altruism, farming, or construction 

 Exceeding a zero-sum game 

Then there’s cooperation. Ever since Darwin’s Origin was published, and, even more, ever since Tennyson wrote about nature ‘red in tooth and claw’, theologians have been embarrassed about the place of cooperation in their vision of the world. Now, however, it turns out, competition isn’t the only force at work in biology or evolution after all. One of the features of reality that evolution discovers and puts to work again and again is cooperation, and ways to exceed a ‘zero-sum’ game. We see that in cooperation within a species, but also in cooperation between species, which is ubiquitous in nature: called mutualism, it’s found everywhere. As a rule, once two species stick around in proximity for the long run, down many generations, their relationship will turn to mutual benefit.  

Ethicists are often wary of the suggestion that we can look at the way things are, and read a moral code there (getting an ‘ought’ from an ‘is’), but it’s an unusual person whose vision of right and wrong isn’t shaped, to some degree, by a sense of what the world is like. Well, it turns out that nature bears witness to the enduring worth of cooperation, and not only to competition.   

In the first of these articles on biology, I pointed out the significance of ethics in thinking about biology, and about evolution in particular. For better or worse, and often for worse, thinking about evolution has been an ethical, social, political story. The evolutionary has been put to work for immoral, ends. It turns out to be wrong twice over to suppose evolution commends only competition. It’s wrong, first of all, because we are rational creatures, who can aspire to an understanding of good and evil that transcends the realm of nature. But also, as we now see, it’s wrong even to suppose the nature is only red in tooth and claw. There’s competition, but there’s also a lot of cooperation.  

 

Suggested further reading 

Archibald, John. 2014. One Plus One Equals One: Symbiosis and the Evolution of Complex Life. Oxford: Oxford University Press. An accessible introduction to biological mutualism, with an emphasis on the role of hybrid organisms (one living inside another) in major evolutionary transitions. 

Bronstein, Judith L., ed. 2015. Mutualism. Oxford: Oxford University Press. The new standard treatment of biological mutualism. 

Morris, Simon Conway. 2008. Life’s Solution: Inevitable Humans in a Lonely Universe. Cambridge: Cambridge University Press. A comprehensive discussion of convergence in evolution. 

Day, Troy, and Russell Bonduriansky. 2018. Extended Heredity: A New Understanding of Inheritance and Evolution. Princeton, NJ: Princeton University Press. An engaging introduction to a broadened picture of inheritance. 

Davison, Andrew. 2020a. Biological Mutualism: A Scientific Survey. Theology and Science 18 (2): 190–210. An accessible survey of some of the science of biological mutualism. 

———. 2020b. Christian Doctrine and Biological Mutualism: Some Explorations in Systematic and Philosophical Theology. Theology and Science 18 (2): 258–78. A foray into some of the significance of mutualism for Christian theology. 

Jablonka, Eva, and Marion Lamb. 2020. Inheritance Systems and the Extended Synthesis. Cambridge University Press. A short discussion of many of the more expansive aspects proposed for contemporary evolutionary thought. 

Jablonka, Eva, Marion J. Lamb, and Anna Zeligowski. 2014. Evolution in Four Dimensions: Genetic, Epigenetic, Behavioral, and Symbolic Variation in the History of Life. Revised edition. Cambridge, MA: MIT Press. One of the most substantial discussions of the new perspective. 

Laland, Kevin, Tobias Uller, arc Feldman, Kim Sterelny, Gerd B. Müller, Armin Moczek, Eva Jablonka, et al. 2014. Does Evolutionary Theory Need a Rethink? Nature 514 (7521): 161–64. MA short two-sided piece, asking whether a transformation in evolutionary thinking is under way.  

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.