Article
Belief
Creed
6 min read

Revival – really?

Are we moving beyond the secular scepticism of religion?

Abigail is a journalist and editor specialising in religious affairs and the arts. 

A cross held aloft is illumminated by a shaft of light that also reveals hands raised in priase.
Jacob Bentzinger on Unsplash.

Whisper it if you will, but an increasing number of observers are wondering if we are creeping towards some kind of Christian revival. High-profile public figures such as former atheist author Ayaan Hirsi Ali, novelist Paul Kingsnorth, comedian Russell Brand and storyteller Martin Shaw have converted. Articles and podcasts from secular writers and thinkers extolling Christianity’s influence on Western culture, the societal benefits of faith, or a renewed appreciation of the sacred, are becoming a more common sight than those tub-thumping for atheism. 

Among these thinkers is historian Tom Holland, who has argued that Western values, including secularism, socialism, feminism and human rights have their roots in a “Christian seedbed”. Some secular female writers are finding in the sexual revolution much to regret: Mary Harrington, author of Feminism against Progress, and writer Louise Perry, who penned The Case Against The Sexual Revolution, are opposed to casual sex and in favour of marriage. 

Then there’s the Canadian academic and YouTube hit Jordan Peterson, currently on a speaking tour titled, “We who wrestle with God” and offering Bible-based life lessons to his hungry, mainly male, hearers. Even the arch-atheist Richard Dawkins said in a radio interview this Easter that he considers himself a cultural Christian and “I sort of feel at home in the Christian ethos.”  

A term has been coined for someone close to Christianity but just outside it, such as Holland: “Christian-adjacent”. The broadcaster Justin Brierley has devoted a book to this apparent renewed interest, The Surprising Rebirth of Belief in God. In it he argues the New Atheism that fed off the horror of the religious extremism behind 9/11 is “a largely spent force” that has splintered into factions. (Sunday Assembly, the gathering for non-religious people, has seen its income plummet from £267,161 in 2016 to just £28,120 in 2022. Its leaders were approached for comment.)  

What does all this amount to? Are we moving beyond the secular scepticism of religion? Does anyone want to return to the judgemental, Anglo-centric Christianity of a previous age? 

I wish to be somebody who goes, ‘But look, come with me, see this, see that. Does that speak to you?’ The whole of my writing is to help people get away from preconceptions.” 

Iain McGilchrist

The author and psychiatrist Iain McGilchrist says of a possible religious revival: “I feel that there is [one], and I feel that there will be. And I think it's important.” Already, he says, “It's much easier to talk about religion and one's religious beliefs … than it would have been 20 years ago [and] a lot of people say that.” Some young people who are not from a religious background have surprised him by finding their way to religion. 

People he knows who have turned to Christianity in mid-life have moved “to the Catholic Church, but most of them to the Orthodox Church, because they see … genuine valid, uninterrupted tradition of the divine and the sacred, of worship of it, of the sense of wonder, the sense of relative humility, not triumphant exaltation, and the sense of a shared oneness that is encaptured in these ancient rituals.” 

McGilchrist believes the route of fulfilment “is oneness with nature, with the Divine and with one another,” and that rediscovering a connection to the Sacred (he refers to the Sacred or Divine rather than religion) would address other pressing issues such as the “poisoning of the oceans”, due to “a proper understanding of our position in the cosmos, not as the exploiter, but as the caretaker.” 

Of his own views, he says: “I genuinely am not sure how to understand what it means to be a Christian really, but I suspect that I am one.” He stresses that he doesn’t want anyone to be put off by their preconceptions of what that might mean. “I wish to be somebody who goes, ‘But look, come with me, see this, see that. Does that speak to you?’ The whole of my writing is to help people get away from preconceptions.” 

“There is an intellectual revival, if you like, because the complacent secularism, which culminated in people like Richard Dawkins, is obviously broke.” 

Andrew Brown

Mark Vernon, a psychotherapist, author and former Church of England priest, also perceives a shift in the conversation around religion, and a new sense of enquiry that did not exist 20 years ago. He believes “a mystical Christianity” would be needed to reach the many people who describe themselves as “spiritual but not religious”.  

Author of Spiritual Intelligence in Seven Steps, Vernon enjoys the silence of a Buddhist meeting or being out in nature on pilgrimage to holy places, “feeling different energies, different pulses, different rhythms … Being in a place where you just feel there's a different thing going on here, that can be healing. I think a lot of mental health is due to just people being trapped in very narrow worldviews.”  

Dr Vernon, whose faith journey has included atheism, follows what he calls a “commodious” Christianity – “my perspective on the universal story, which I think is ultimately beyond any one expression of it – and focuses on the “Christ [that] lives within me”, in contrast to “more socially driven” or “conversion-driven” Western Christianity.  

For Abby Day, Professor of Race, Faith and Culture at Goldsmiths, University of London, any talk of religious revival is “wishful thinking” but like Vernon she believes that if anything were to speak to the “spiritual but not religious” it would be “within them, or maybe within nature” and “non-institutional”. 

Professor Day is wary of the interest in Christianity from the populist right, as seen in the European elections and US Evangelicals’ support of Trump. They “claim Christianity, but what they're claiming is a national identity, and so we're seeing Christianity be weaponised” to deliver a conservative agenda, she says.  

Day, author of Why Baby Boomers Turned from Religion, takes issue with some of Holland’s arguments, saying: “The Churches have not shown themselves to be exemplary models of equality or human rights.” 

Veteran religious affairs journalist Andrew Brown, co-author of That Was The Church That Was: How the Church of England lost the English people, is less hostile. He says: “There is an intellectual revival, if you like, because the complacent secularism, which culminated in people like Richard Dawkins, is obviously broke.” But he adds: “Most of the stuff that's interesting and new is coming from people who are either Christians or Christian-adjacent.” But, he adds, “It takes a long time for the ideas of the intelligentsia to filter down … “If there is to be anything like [a revival], it has to start locally, and far below the radar of news.” So, for example, what impact has 14 years of austerity had that have led to millions of people attending food banks and warm spaces in churches? (According to 2023 data from Savanta and the National Churches Trust 5 per cent of UK adults visited a church last year to access a food bank (equivalent to around 3.4 million people) and 4 per cent (2.7 million) for a warm space.) “That has to be doing something, but I don’t know what,” he laughs, adding: “There really isn’t enough decent religion reporting because journalism is in crisis.”  

That puts established religion in good company. But the Churches the Boomers rejected may have become humbler during their exile, and alternatives are available that offer different emphases. Vernon notes that the Orthodoxy that has attracted Kingsnorth and Shaw – Vernon’s “favourite convert of this revival” – is comfortable with other faiths and is more about participation through liturgy than converting to safeguard your immortal soul. And one attraction of the silence Vernon enjoys is that it doesn’t give glib answers, including to the profound questions around meaning, purpose and identity that beset nation, Church and individuals alike.  

Putin’s violent ambitions could yet drive people to prayer. For now, at least, the more thinkers publicly take Christianity seriously and rediscover its wonder and mystery, the fairer hearing its stories, values, social benefits and cultural legacy will receive in the rowdy market-place of ideas, offering – at the very least – the cradle agnostic a more informed choice.  

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.