Explainer

Belief

Creed

14 March 2023

4 min read

Seeing the world through different eyes

Can 'dull words' signpost to something beyond? Explore how creeds help imagine life.

Alister McGrath

Alister McGrath retired as Andreas Idreos Professor of Science and Religion at Oxford University in 2022.

A set of low concrere blocks in the shape of a map's viewpoint symbol sit beside a lake.

'Viewpoint': a sculpture near Needs Hill on the north side of Kielder Water.

Oliver Dixon, via Wikimedia Commons.

Why are the Creeds so dull? To many, they have the intellectual depth and emotional appeal of hastily written shopping lists. Their leaden and impenetrable statements seemed to point to a cold, dead orthodoxy which has nothing to say to a fast-changing world. During my own phase as an atheist, I saw the creeds as top-down authoritarian attempts to trap people within a narrow and restrictive view of the world. I objected to being told what to think; I wanted to find things out for myself.

My outlook on life changed while I was a student at Oxford University in the early 1970s, as I began to appreciate for the first time the intellectual and imaginative appeal of Christianity. The Creeds themselves had nothing to do with this transition, which came about through conversations with intelligent and reflective Christians. This helped me grasp the vision of what lay at the heart of Christianity – something that could not be reduced to words or slogans, but which gave birth to a new way of living and acting. This seemed to be a million miles away from the arcane declarations of the Creeds. But as time passed, I began to see the Creeds in a new way. Let me explain.

The way we imagine the world – whether socially, morally, politically or religiously – needs to be expressed.

Back in the 1980s, the Canadian philosopher Charles Taylor introduced his idea of “articulation”. Every attempt to live a good life or develop a viable moral system depends on a set of background assumptions which need to be identified and put into words. “Articulation” is about the “bringing to light of that which is unspoken but presupposed”. Taylor’s point is that we need to put into words the grander vision of reality which shapes the way we think and live, despite the obvious inability of words to do justice or fully express this vision. The way we imagine the world – whether socially, morally, politically or religiously – needs to be expressed; yet that very act of expression both diminishes and restricts that vision, precisely because it is a rich imaginative reality that cannot be reduced to words.

It is this vision of faith which engages, inspires and motivates believers, not its verbal articulation in the Creeds.

The Creeds are thus an articulation of the core vision of faith. (The Apostles’ Creed is thought to have emerged gradually within Christian communities, particularly in Rome, apparently in response to the need for brief personal articulations of faith at baptism.) It is this vision of faith which engages, inspires and motivates believers, not its verbal articulation in the Creeds. If this vision is to be effectively expressed in words, it will use the language of poetry, capable of engaging the imagination and emotions. Perhaps this helps us understand why some of the Church’s best-loved theologians were poets (think of John Donne, or George Herbert). We need verbal articulations of faith, yet too easily misunderstand these as defining the essence of faith when they are actually signposts to its core vision.

Thinking of Creeds in this way allows us to see them as expressing frameworks of exploration and discovery. Rather than presenting us with a set of verbal formulae as “givens”, the Creeds point to a rich landscape that we can explore, identifying its landmarks that deserve our attention. They are like guidebooks, telling us what to look out for – and thus countering our natural tendency to limit ourselves to the familiar by pointing out what we have yet to discover.

Yet the Creeds are not themselves the agents of discovery. If the Christian faith can be compared to a landscape, then its best guides are those who live there, having internalized its features and incorporated them into their lives. There is a necessary and proper synergy between the statements of the Creeds and the personal experiences of Christians. The Creeds map the landscape of faith; yet individual Christian believers are best placed to explain and unpack its features, and the difference that this makes to their lives. The primary witnesses to the vitality of faith are thus ordinary Christians, who can connect the landmarks of faith with their personal journeys of discovery and living out their faith.

At times, those personal narratives may express the excitement of a new way of seeing the world; at others, they may concern how faith enables individuals to cope with uncertainty, trauma, loneliness, and death. The Creeds cannot (and do not) make those connections; they can, however, provide a framework for exploring and understanding how faith changes lives and shapes personal worlds, in dialogue with those who have made those discoveries, and can express them in their own words and ways. The Creeds cannot tell anyone what it means – or feels like – to believe in God. Yet they make room for individual believers to tell their stories, amplifying and embodying the terse and otherwise opaque creedal statements.

The Creeds, at first sight, at least, may indeed be dull – but their significance lies in the landscape to which they point. Far from trying to limit us, they are seeking to expand our vision by pointing to a greater reality that lies behind and beneath them.

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.